How Berlin Gallerist Michael Janssen Is Committing to New Models of Collaboration https://ift.tt/7Ww98Cg

Untitled, from the series ‚Self Portaits‘, 2023
Gulnur Mukazhanova
Galerie Michael Janssen

Michael Janssen senses that a recalibration in the art market is underway, one that is characterized by spikes in overhead costs for galleries as well as the increasing importance of the digital art world. These factors, he thinks, have changed how a small gallery can function, and in response, he is working on building a more community-based approach to business. “I’m talking with a few colleagues all over the planet to figure out what can be done and how we can work closer together, join forces, and pool resources,” the German gallerist told Artsy. “We haven’t come up with the right model yet, but in the end, the only way we can deal with the [market] is to join forces and to work really closely together.”

At the Berlin-based Galerie Michael Janssen, Janssen is well positioned to observe these changes—and to prepare to take action. For nearly three decades, Janssen has consistently demonstrated a willingness to take risks. The gallery first opened its doors in 1995 in Cologne before moving to Berlin in 2007. Today, as the costs of running a gallery become more expensive, Janssen believes the survival of small galleries hinges on sharing artists and collaborative exhibitions. “[Small galleries] are working for the same thing,” Janssen noted.

Janssen’s risk-taking spirit is evident in his early support of artists like American sculptor Lynda Benglis in the late ’90s and his contribution to the rediscovery of Italian painter Gianfranco Baruchello. Commerciality has never been the gallery’s immediate priority; instead, he focuses on supporting the artists that he believes in at every stage in their careers. For instance, he first staged a show for Baruchello in 2009 at his gallery and then again at Art Basel in 2011, but in both cases, no sales were made. However, Janssen and Baruchello remained optimistic. “It was pretty frustrating, but then Barruchello kept his good mood, and he got some museum shows, the Venice Biennale, and other things,” Janssen added.

Now located in Berlin’s Charlottenburg district, the gallery has become celebrated for introducing a mix of both emerging and established artists. Talents like Stijn Ank, Emil Holmer, and Gulnur Mukazhanova were among the international names that the gallerist has helped introduce to the German art scene, bringing fresh perspectives and differing approaches. Simultaneously, the gallery continued to work with more well-known artists, such as Marina Abramović and Pino Pascal. “What I’m trying to do is introduce older generation artists to the younger [people] I’m showing,” Janssen said of his program.

Tattoo, 1977
Klaus Liebig
Galerie Michael Janssen

Following the gallery’s relocation to Berlin, Janssen expanded the scope of his curatorial endeavors. The additional 1,900-square-foot space in Berlin allowed the gallery to showcase artists specializing in installation-based mediums, with one of the early exhibitions featuring the works of Belgian video artist Lili Dujourie.

Meanwhile, he continued his commitment to platforming and rediscovering overlooked artists. Most recently, he has focused on bringing attention to artists who may not have received widespread recognition. This includes his efforts to showcase the work of the late German artist Klaus Liebig. At the Independent Art Fair in New York last year. he showed Liebig’s contributions to the art world, which Janssen views as significant yet underappreciated. Though his contemporaries, such as Barruchello, have achieved acclaim in recent years, Janssen sees Liebeg as a “forgotten painter” among his peers.

Janssen is also enthused by the different approaches that are being taken by the younger artists he works with. “I like the way the [younger] artists approach art right now because they don’t care much about what happened in the past,” he said “They just do their thing, and if it’s good enough, they’re going to succeed. With artists nowadays, I think there is a much more direct approach.”

According to the gallerist, this newfound “direct approach” gives artists more autonomy and is largely driven by social media and Instagram. In recent years, artists have had a much more direct connection with their audiences, and people have boundless access to artworks on their phones. For Janssen, this has parallels with how galleries can function in today’s art market. The gallery first embraced the digital space in 2020 while it was looking for a new space in Berlin. However, at the time, he admits the gallery “never did a full-time social media approach,” whereas today, his team at the gallery is experimenting with a new balance between in-person and online.

“We’re figuring out different strategies, how to do it, which way to play digital, but also to do it analog,” he said, “to have shows with artists in the future in the gallery and also while doing it on the digital level. I think it’s unavoidable.”

But around them, Berlin is changing as well. Once seen as a haven for artists and galleries, Janssen noted that it’s no longer the epicenter of art buying it once was. “Berlin is—it was—super attractive, but has lost some of its attraction.…We have the great institutions and curators and all of that, but we don’t necessarily have the buyers in town,” Janssen observed. This shift has prompted him to adapt, looking beyond Berlin’s borders to connect with international collectors through gallery collaboration, specifically with Cristina Guerra Contemporary Art in Lisbon with whom they share one artist, Yonamine.

In light of these changes, Janssen’s commitment to community-forward models is more vital than ever. His strategies, embracing digital and traditional gallery experiences, reinforce the galleries as a stronghold in art communities. “Most of us are struggling due to the system, so you have to create new networking structures and ways of collaborating with other galleries,” he said.

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Artists announced for Venice Biennale 2024, which will spotlight queer and Indigenous names. https://ift.tt/Wr1axOs

The Venice Biennale has unveiled the roster of 332 artists for this year’s main exhibition, which is titled “Foreigners Everywhere.” Curated by Adriano Pedrosa, the director of São Paulo’s Museu de Arte, the theme reflects on global movements and crises related to the migration of people across borders. The 60th iteration of the mammoth prestigious group show will run from April 20th to November 24th.

This year, the exhibition will notably feature a significant number of Indigenous artists, including Native American landscape artist Kay WalkingStick, the Brazilian collective MAHKU, and the Māori quartet Mata Aho Collective. At a press conference, Pedrosa explained that the Indigenous populations are often treated like foreigners in their own country.

Pedorosa’s exhibition will be divided into two sections: the “Nucleo Contemporaneo” and “Nucleo Storico,” which are dedicated to contemporary and historical art, respectively. The “Nucleo Contemporaneo,” as outlined by Pedrosa, encompasses a wide-ranging concept of “foreigner” that extends beyond geographic boundaries to include individuals often marginalized for their cultural, sexual, or social identities. The Biennale will feature work from several queer artists, both contemporary and historical, including Hong Kong–born photographer Isaac Chong Wai, American figurative painter Louis Fratino, Canadian artist and filmmaker ​​Erica Rutherford, and Chinese abstract painter Evelyn Taocheng Wang. In his press statement, Pedrosa added that he is the first openly queer curator of the Biennale.

Meanwhile, the “Nucleo Storico” segment will showcase works by 20th-century artists from Latin America, Africa, the Arab world, and Asia, dating from 1905 to 1990, highlighting the complex interplay between European modernism and Indigenous influences in the Global South.

This section is divided into portraits, abstraction, and the Italian diaspora, with one work per artist displayed across the Central Pavilion and the Arsenale. This exhibition will feature work from artists such as Cícero Dias, Brazilian artist Yêdamaria, and Rómulo Rozo in the portraits section; Mexican artist Eduardo Terrazas, Colombian painter Fanny Sanín, and Lebanese painter Etel Adnan in the abstraction section; and public artist Nenne Sanguineti Poggi, painter Gianni Bertini, and Argentine artist Lidy Prati in the Italian diaspora section.

Other names range from well-known, historically-celebrated artists, such as Mexican painters Diego Rivera and Frida Kahlo, to emerging artists like New York–based WangShui and Algeria-born Lydia Ourahmane. The full list of artists can be downloaded at the following link.

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Hyangro Yoon’s Paintings Are a Bold Take on Our Data-Obsessed Era https://ift.tt/xVcImrK

This article was produced in partnership with the Korea Arts Management Service (KAMS).

In a 2013 New York Times article, columnist David Brooks coined the term “Data-ism” to describe the prevailing philosophy of our era, a mindset that gives precedence to the role and capabilities of data in our lives. In a period increasingly governed by data algorithms (with AI now becoming part of this picture), these inquiries extend into aesthetics, urging a reevaluation of artistic expression. Within this framework, the work of Hyangro Yoon presents a fascinating case study. Yoon’s art skillfully intersects data, emotion, and aesthetics, offering an insightful perspective on how art can adapt and thrive in the Data-ism era.

Hyangro Yoon begins with reconceptualizing the pixel, that fundamental unit of digital imagery. To do this, she manipulates digital imagery on a computer, often using Adobe Photoshop, and then transfers it to canvases through traditional analog painting.

In her celebrated series “Screenshot” (2016–present), Yoon elevates the pixel from a mere point of light to a dynamic entity pulsating with depth and emotion. This painting series represents a paradigm shift, ushering viewers into an ethereal threshold where the digital and physical realities intertwine and diverge in a harmonious ballet. These works are not mere visual spectacles; they are tactile experiences where airbrushed particles on canvas transcend the ordinary, oscillating between the realms of tangible reality and imaginative possibility.

Yoon’s work has undergone a vivid evolution, seen through later works, such as Drive to the Moon and Galaxy and Tagging-H (both 2022). In these pieces, Yoon further fragments digital images by shattering these traditional landscapes and reassembling them, crafting backdrops that challenge the norms of visual consumption. This artistic approach is not merely aesthetic; it’s a philosophical exploration of the nature of images and memory in the digital age, in which our collective memory often mirrors a series of transient, fragmented snapshots.

Yoon’s artistic practice is a deep and critical examination of contemporary image production and consumption. In this digital era, her work becomes a beacon of understanding, shedding light on the intersection of these once distinct fields. One of the most striking aspects of Yoon’s work is her ability to infuse emotional empathy into digital images, which are often perceived as cold and impersonal. Her Blasted (Land) Scape (2014) is particularly poignant in this regard. By intentionally removing central characters from familiar narratives, she creates a void filled with haunting emotional depth. The absence thus becomes a presence, inviting viewers to engage with the void and fill it with their own interpretations and stories.

Meanwhile, in Flag (2022), Yoon transforms wind, temperature, and humidity into visual expressions that capture the fleeting essence of our world. This piece, a canvas that adapts to the unpredictable whims of the weather, encapsulates Yoon’s vision of art as a living entity, responsive and adaptable to its environment.

Screenshot 7.03.15 1-002, 2017
Hyangro Yoon
DOOSAN Gallery

In a world overwhelmed with images and visual stimuli, Yoon’s work stands out as a reminder of the transformative power of art. Her work goes beyond being a mere reflection of the digital age; it is a profound commentary on it. It offers a nuanced discourse on how we interact with, consume, and interpret images in our increasingly digital world. Her work, thus, introduces not just a mirror reflecting the present but a window into the future, exploring what it means to be human in a world where data and algorithms are omnipresent.

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Eddie Martinez will represent San Marino at the 2024 Venice Biennale. https://ift.tt/Va0FRcx

Eddie Martinez has been selected to represent the Republic of San Marino at the upcoming Venice Biennale in an exhibition titled “Nomader.” Curated by Alison M. Gingeras, the pavilion will showcase Martinez’s latest work across various mediums, including painting, sculpture, and drawing. The exhibition runs from April 20th to November 24th at the Pavilion of the Republic of San Marino, organized by FR Istituto d’Arte Contemporanea S.p.a.

San Marino has historically invited artists of various nationalities to represent their pavilion in past editions of the Biennale. This practice is symbolic of the country’s legacy of offering refuge to immigrants.

Born in 1977 and based in Brooklyn, New York, Martinez is known for his vibrant, gestural, often large-scale works that incorporate recurring motifs such as bugs, ducks, and skulls. His approach incorporates various materials and techniques, from oil and enamel to collage and found objects, engaging with art historical references in innovative ways.

In recent years, Martinez has presented several solo museum exhibitions, including at the Museum of Contemporary Art in Detroit and the Yuz Museum in Shanghai. His works are held in prestigious public collections worldwide, such as the Morgan Library in New York, the Carnegie Museum of Art in Pittsburgh,, and the Saatchi Collection in London.

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David Hockney pool painting, estimated at $20 million, will go on sale at Christie’s. https://ift.tt/yQ9gOnc

Christie’s will feature David Hockney’s 1965 masterpiece California in its upcoming 20th/21st century: London evening sale on March 7th. Estimated to fetch in the region of £16 million ($21 million), the painting is notable for being one of Hockney’s pioneering swimming pool works. It has not been seen by the public since its current owner acquired it more than 40 years ago in 1968.

“David Hockney’s pool paintings have become some of the most iconic and loved images of our time,” said Katharine Arnold, head of post-war and contemporary art in Europe. “California is an exceptional painting made shortly after Hockney’s first trip to Los Angeles in 1964, where he marveled at the brilliant light and mosaic-like cityscape populated by bright blue swimming pools.

“After a childhood brought up in the north of England and having studied in London, still reeling from the Second World War, California must have felt like Arcadia; a beautiful place to be free and enjoy being young. This sense of the artist’s optimism and jubilation is in the very fabric of Hockney’s California.”

In anticipation of the sale, California was unveiled in London on January 25th, initiating a tour that will include stops in Paris and New York before the painting returns to the auction house’s global headquarters in London for viewing from March 1st through 7th.

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Kathia St. Hilaire Challenges Colonial Narratives in Her Collaged Canvases https://ift.tt/TIlgPhS

Kathia St. Hilaire clearly remembers her mother’s stories about Hurricane David—the infamous category five storm that ravaged Haiti in 1979. She was particularly struck by how the hurricane seemed to wash everything away, laying bare the stark inequalities in the region. This disaster is memorialized in her work David (2022). For St. Hilaire, this 12-foot-tall wall-based collaged spiral, composed of colorful studio scraps like banana leaves and discarded fabrics, is the perfect symbol for the shifts in power throughout Latin American history—often marked by tumultuous violence.

“I love experiencing [my mother] telling the story because I love the sublime,” St. Hilaire told Artsy during a walkthrough of her exhibition “Mounting Spirits, Resisting Empire,” on view at Perrotin until February 17th. David is both subtle and commanding—the largest and oldest work in the show. Although it’s the exhibition’s cornerstone, its full impact is discreetly veiled, partially hidden behind two black, diaphanous curtains. In her words, the hurricane symbolizes “the erasure of history and how people don’t really necessarily see it coming.” The work sets the tone for her historically angled exhibition.

For many of the works in the show, St. Hilaire uses reduction printmaking, a meticulous process of carving and layering images on linoleum blocks to create textured, intricate prints on canvas. She then stitches on or embeds these paintings with unconventional materials like rubber tires, Chiquita banana stickers, and banknotes, weaving in cultural and historical symbols that echo her Haitian heritage and the colonial past. Many canvases, like Charlemagne Péralte (2023), feature Vodun (colloquially known as Voodoo) symbols. This relief painting on canvas is presented on a collaged set of canvas diamonds, which, in Vodun, represents the god of war, Ogun.

“Mounting Spirits, Resisting Empire” confronts the obscured histories of Haiti and Latin America, intertwining accounts of the Banana Wars—a series of military interventions by the United States in the Caribbean and Central America to protect its commercial interests in the banana trade—with narratives of post-colonialism. This archival storytelling comes with its complications, she explained: “A lot of the history, especially coming from Haiti, along with Colombia, is lost. You don’t really get to understand.”

Her “Caco” series is born out of this uncertainty. The paintings depict Haitian leaders Benoît Batraville, Charlemagne Péralte, and Rosalvo Bobo, who led the resistance against the U.S. occupation of Haiti from 1915 to 1934. Her paintings underscore the ambiguity of post-colonial history. Each work is paired with a counterpart whose title is the reverse (such as Caco: Rosalvo Bobo, 2023, with oboB ovlasoR :ocaC, 2023, for instance). The two works are hung across the gallery from one another and recreated with only the slightest differences of material to challenge the perception of history and its representation.

This strategy was inspired by the magical realism of Gabriel García Márquez’s 100 Years of Solitude. “The idea of mirroring everything and making them very much like each painting but slightly different from the others is how I felt when I read the book,” she said. “The names [in the book] were slightly changing, while the personalities stayed the same. People were forgetting things that they were doing. It’s what I wanted for these paintings. I wanted something that was complex, but at the same time, that was the same.”

Meanwhile, other pieces like mamita yunai (2023) embrace the “marvelous real,” a term coined by Cuban writer Alejo Carpentier as part of his argument that the true histories of Latin America are so fantastical they do not need to be sensationalized. On this canvas—collaged with skin-lightening cream, steel, aluminum, bank notes, price tags, banana stickers, silkscreen, and tires—St. Hilaire captures the essence of Carpentier’s idea by depicting the aftermath of the 1928 Banana Massacre, in which the Colombian army killed workers striking against United Fruit Company. St. Hilaire depicts nine dead bodies in this work, meant to symbolize the nine demands of the protesting workers.

St. Hilaire’s work is full of historical allusions, along with Vodun symbols, and tokens from her personal life. Chiquita banana stickers are everywhere—a reference to the company’s mascot Miss Chiquita (who was based on real-life singer Carmen Miranda). This branding was meant to bridge the U.S. and Latin America but instead perpetuated stereotypes and omitted representations of Black people in Latin America. St. Hilaire added that the U.S. was “very much adamant about how they wanted everyone to be perceived, as in, they want to be seen as a white country…that history of invasion created all these stereotypes and misconceptions of people from Latin America.”

St. Hilaire’s work exposes submerged truths to reshape historical narratives. This continual, spiraling journey through history is a path that reveals hidden truths about people and inequalities today—much like the relentless progression of a hurricane that it draws inspiration from.

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Perrotin announces new Los Angeles space. https://ift.tt/WObg1XT

Perrotin will open a new Los Angeles gallery during the city’s Frieze Week, with an inaugural solo exhibition by Izumi Kato. The exhibition, starting on February 28th, marks Kato’s debut on the West Coast.

Located in the historic Del Mar Theater at 5036 West Pico Boulevard, Perrotin Los Angeles will retain key architectural features from the building’s previous life as a performance venue, such as the marquee and lightboard signage. The gallery’s more modern design elements were created by Los Angeles–based architect Johnson Marklee.

“Los Angeles offers an extremely interesting and diverse cultural scene, with a unique network of artists, museums, collectors, and art lovers. Here, art is central to the city’s identity,” Emmanuel Perrotin said. “I am happy to settle on the West Coast with a very talented and experienced team in order to develop more projects by our artists and expand our reach in the United States.”

The opening of Perrotin Los Angeles expands the gallery’s global reach to eight locations, adding to openings in Dubai, Shanghai, and Tokyo over the last few years. Following Kato’s show, Perrotin will host the first solo show in Los Angeles by New York–based collective MSCHF.

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Jessie Homer French’s Paintings of Wildfires Reveal the Beauty in Destruction https://ift.tt/wmyvDtf

Stealth bombers, wind farms, controlled burns, and cemeteries: These are some things that 83-year-old self-taught artist Jessie Homer French finds beautiful. She said this matter-of-factly before the opening event of her solo exhibition at Various Small Fires in Los Angeles, and is surprised to hear that not everyone would describe them that way. “Surely, other people find stealth bombers beautiful, and fire? Fire’s absolutely beautiful.” Coming from someone else, the sentiment might register as untrue or intentionally contentious, but looking at Homer French’s intricate painting of jimsonweed blooming between scorched pinyon trees, or another of a pearlescent plane soaring over a field of turbines, the viewer understands her sincerity. You see what she sees: a world alternately ravaged and renewed by man’s capacity for devastation and rebirth.

Homer French’s gift for seeing what others miss began when she was young. Raised in the Adirondacks in the 1940s, she spent most of her childhood playing in the woods by herself. Spurred by a fascination with what she couldn’t see beneath the stream beside her house, she caught her first fish with her hands at age three. “I used to have these magical dreams about the fish and life underwater,” says Homer French. “I’ve always been drawn to hidden things.” Eight decades later, the preoccupation manifests in prescient paintings that offer a revelatory glimpse of the invisible, a rapturous view of the natural world, and gentle instruction for spotting the seedling unfurling from the cinders.

Pinyon Crest, 2023
Jessie Homer French
Various Small Fires

In “Normal Landscapes,” on view through February 17th, Homer French’s anti-perspectival, faux-naïf narrative paintings reveal the cyclical nature of life. Remembrance Day (2021), for instance, depicts mourners walking between tombstones and lucent crosses adorned with flickering candles in a cemetery ensconced by towering conifers. Beneath them, the underground is depicted in a cross section, revealing the carefully dressed men, women, and children at rest in their graves. In Lower Rush Creek (1994), a rushing river teeming with glinting trout bisects the remains of a charred forest where scrubby grasses grow beneath blackened branches. Though fire is absent from that composition, it makes a magnificent appearance in the five-foot-wide Boreal Burning (2022), where ferocious orange, yellow, and red flames consume a row of evergreens beneath an ominous, smoke-stained sky. ​​

Despite the urgent, striking nature of her paintings, Homer French spent the last 50 years painting in relative obscurity, unnoticed by the art world until just recently. “She was the only artist at the 2019 Art Basel Hong Kong that no one had ever heard of,” explained Esther Kim Varet, founder of Various Small Fires, who was largely responsible for introducing Homer French’s work to the public. “The fair committee decided she was the one true discovery in the entire Discovery section.” Since then, her work has spread across the world much like the raging wildfires she paints: She had a solo show at MASSIMODECARLO’s Milan gallery, two of her paintings reproduced on billboards above the High Line in New York City, and works in both the Venice Biennale in 2022 and the Hammer Museum’s “Made in L.A.” exhibition in 2023.

Boreal Burning, 2022
Jessie Homer French
Various Small Fires

“People are looking for sincerity, and because it’s so hard to come by now, when you find it, you want to hold onto the experience,” said Kim Varet of the artist’s recent surge in popularity. “It’s difficult to articulate exactly what it is about her work that makes you love it, but you feel it when you see it. Everyone does.” When pressed to name it, that elusive quality that makes the paintings so compelling, Kim Varet points toward a lack of pretension, a straightforward earnestness, and an “existential honesty that resonates with what and who we are right now.” Indeed, the two biennials in which Homer French was included showed a similar tendency towards authenticity.

Considering the attention both surveys paid to textiles, it’s perhaps surprising that one of Homer French’s idyllic tapestries, playfully referred to as “mapestries,” was not chosen for inclusion in either. Made from fabric, thread, paint, and ink, these works feature hand-stitched, colorful topographical diagrams of fault lines alongside familiar landmarks and regional symbols. The Dying Sea (2021), included in the current show at Various Small Fires, depicts a crimson San Andreas Fault line arcing across a mottled peach expanse dissected by winding black interstate lines. Patches of fabric with finely painted palms, yucca trees, mountain ranges, and tilapia fishpopulate the facsimile high-desert landscape.

Remembrance Day, 2021
Jessie Homer French
Various Small Fires

Chinese Cemetary on Vancouver Island, 2023
Jessie Homer French
Various Small Fires

Ghosts, 2012
Jessie Homer French
Various Small Fires

Los Angeles Evening, 2023
Jessie Homer French
Various Small Fires

The Dump, 2023
Jessie Homer French
Various Small Fires

The Dying Sea, 2021
Jessie Homer French
Various Small Fires

The artist herself lives just west of the area shown, in an isolated, mountainous community surrounded by junipers, sagebrush, coyotes, and rabbits, rich with dizzying vistas. Born and raised in New York, Homer French has lived on the West Coast for the past five decades—first, in Los Angeles, where she met her late husband, talent agent and movie producer Robin French; then Vancouver Island, Canada; then western Oregon and La Quinta, California; and now, in the Santa Rosa Mountains above Palm Desert in a house with panoramic views like the one rendered in Pinyon Crest (2023). “Robin was always finding magical places to live,” she said. “Magical places for me to paint.”

Walking through the exhibition, Homer French pointed out other paintings of places she’s lived and a few she hasn’t or “hasn’t yet”: Ojai, California; Chernobyl, Ukraine; the North Sea. “Place is very important to me, place and narrative. Everything is narrative,” she said. Despite their cartoonish forms, flattened colors, and bucolic charm, her paintings transcend easy explanations. They’re heartfelt and mysterious, celebratory and damning, full of hope and desperate sorrow—much like the experience of being alive in these uncertain times.

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Prospect New Orleans announces artist list for its 2024 triennial. https://ift.tt/czko9CM

Prospect New Orleans has announced the list of 49 artists artists to be featured in its sixth citywide contemporary art triennial. Co-curated by artistic directors Miranda Lash and Ebony G. Patterson, the forthcoming edition of the triennial, titled “Prospect.6: the future is present, the harbinger is home,” will run November 2, 2024–February 2, 2024, across 20 venues. Some of the notable names include Joan Jonas, Raúl de Nieves, Didier William, Yee I-Lann, Meleko Mokgosi, Mel Chin, and Joiri Minaya, among others.

The artist list for “Prospect.6” is cross-generational, from the oldest artist, Jonas (born in 1936), to the youngest, Ada M. Patterson (born in 199). The majority of artists were born in the 1980s, including esteemed artists such as Maia Ruth Lee, Arturo Kameya, Abigail DeVille, and rafa esparza.

The artist roster is also geographically diverse, with artists hailing from across the world, including Vietnamese sculptor Tuan Andrew Nguyen and Surinamese installation artist Marcel Pinas. In fact, 11 of the featured artists are currently based in the Caribbean, including Haitian textile artist Myrlande Constant and Trinidadian interdisciplinary artist Shannon Alonzo.

This year, the triennial will present work from nine artists currently working in New Orleans, including sculptor Hannah Chalew, figurative painter Ruth Owens, and multidisciplinary artist Ashley Teamer.

“This triennial offers a critique and discussion of how people, communities, and regions like Louisiana have been and continue to be regarded as sites of extraction for resources and labor,” said Miranda Lash. “At the same time, New Orleans offers profound insight into how culture, neighborhoods, and deep histories tether us to people and places, even in the face of mounting challenges. We see this tension between attachments to home—however one defines it—and the shifting climate as one of the defining issues of our foreseeable future.”

Unfolding across New Orleans’s various neighborhoods, this year’s presentation will include large-scale and ambitious installations—both in galleries and public spaces—with a focus on newly commissioned work.

During the triennial, artists will mount exhibitions at several notable local museums, such as the Newcomb Art Museum, The Ogden Museum, The Historic New Orleans Collection, and the Contemporary Arts Center.

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Inside the 12th Edition of artgenève, Where Variety Reigns Supreme https://ift.tt/LHaY4on

It might be strange to associate the feeling of calmness with an art fair, but at the VIP day of artgenève’s 12th edition on Wednesday, that’s exactly what visitors experienced. This is not to say the halls of Geneva’s Palexpo convention center were empty, or that hands were not being shaken. But the pace seemed to be more leisurely, and the buzz more convivial than one might expect from an art fair’s waking hours. Oddly, in contrast to typical fair openings of late, only a handful of the dealers that Artsy observed across the fair looked stressed.

“The people coming here are great,” said Sofía Roldán, a sales assistant at Albarrán Bourdais, which has branches in Madrid, Menorca, and Crete. “The collectors really know what they want, they know what they're looking for, and I think that’s a lot different from [other] fairs.”

Albarrán Bourdais is making its artgenève debut at this year’s edition of the fair and brought together a clever presentation of artists on its roster, including bronze sculptures by Iván Argote, Claudia Comte, Pedro Cabrita Reis, and Cristina Lucas. Argote’s figurative sculptures—which reference pre-Columbian art and Brutalist architecture—are standouts, alongside vivid, large-scale abstract work by Lucas, made from the 16 elements that make up the human body, including phosphorus and iron.

Bajo el viento oceánico (Rachel Carson) I,II y III, 2022
Cristina Lucas
Albarrán Bourdais

It’s a strong booth in a fair with no shortage of quality across the 80 or so galleries participating in this year’s event. artgenève organizers place particular emphasis on the idea that “variety reigns supreme.” Those who have been to more than a few art fairs might roll their eyes at how fair organizers typically characterize their events in this way, but meandering around artgenève, this ethos of variety does ring true.

It might not be the largest fair in Switzerland, but there are plenty of discoveries to be found here, thanks to a smartly chosen selection of exhibitors that cater to a wide variety of collectors’ tastes. Among them is the presentation by Dubai’s Ayyam Gallery, which specializes in Middle Eastern artists.

“We wanted to bring more of our programming so we really brought five different artists, different mediums, different skill sizes, and so on, just to show what a young gallery does through our programming,” explained Maya Samawi, a partner at Ayyam. Delicate, intense monochromatic works on paper by Sadik Kwaish Alfraji are hung amid scenic abstract works by Kais Salman and pensive double portraits by Safwan Dahoul. “When you feel that everyone is bringing the best they can and the galleries are properly selected, then you want to be associated with such a fair,” Samawi added.

Dream 196, 2021
Safwan Dahoul
Ayyam Gallery

Untitled, 2023
Kais Salman
Ayyam Gallery

Indeed, artgenève is also a fair in which up-and-coming tastemakers rub shoulders with mega-galleries in an unpretentious, welcoming way. Hauser & Wirth, Perrotin, Thaddaeus Ropac, Templon, and Almine Rech are among the heavyweights exhibiting this year, signaling the fair’s strength. Much of this has to do with the caliber of collectors present, which is unsurprising given that the fair takes place in the private banking and wealth management capital of the world.

“We have a lot of collectors who are based around here and come over here,” Maximilian Lefort, a director at Almine Rech, told Artsy. “It’s a nice way to connect with them closer to home.” The gallery, which has just opened the doors of a new space in the upscale Swiss resort town of Gstaad, brought together a typically varied selection of works from its cross-generational roster, including Gioele Amaro, Jenny Brosinski, Johan Creten, Mimmo Rotella, Emma Stern, and Thu Van Tran.

It was clear across the fair that the Swiss collector base is a strong and open-minded one. “It’s nice to meet the Swiss and show them our artists,” said Michaëla Hadji-Minaglou, a gallery manager at the Paris-based AFIKARIS. “This is a very collaborative art fair. So it’s good to show our artists among very big names.” AFIKARIS, which was founded in 2018, specializes in works from the African continent and its diaspora, and dedicated a corner of its booth to works on aluminum by Cameroonian artist Salifou Lindou, whose works capture the energy and rhythms of urban life in textural, affectionate detail. The solo presentation is supplemented by an impressive selection of works from artists from across Africa including Saïdou Dicko, Ozioma Onuzulike, Mouhcine Rahaoui, and Hervé Yamguen.

While galleries remained tight-lipped about sales (one could put it down to Swiss discretion), it was clear that the pace of dealmaking here ticked away with relaxed consistency, with several dealers noting that collectors’ buying decisions are not as quick-fire as they might be at other, more frenetic fairs.

As the first major European art fair of the calendar year (BRAFA in Brussels kicks off just a few days later), it’s no coincidence that artgenève takes place in the middle of Europe’s ski season, and is ideally situated so that visitors can take a break from the nearby slopes at Mont Blanc for a spot of art if they’re so inclined. The crowd at the VIP day was decidedly European (little English could be overheard in the aisles), which is also reflected in the gallery list.

“It’s the fair that sort of kicks off the year [for us],” explained Alexis Sarfati, a director at Paris- and Brussels-based Galerie Nathalie Obadia, which brought a formidable slate of works to view by artists including Valérie Belin, Patrick Faigenbaum, Shirley Jaffe, Robert Kushner, Laure Prouvost, Fiona Rae, Andres Serrano, Joris Van de Moortel, and Wang Keping. “There’s a great pool of collectors in Geneva, so it’s always nice to be able to come back and say hi and present some new works,” Sarfati added.

Meeting this “pool” in one place is also an important factor for many of the Swiss galleries in attendance. At local gallery GALERIE MIGHELA SHAMA, a mirrored floor illuminates a series of new nocturnal, supernatural scenes by David Weishaar in which blue-hued figures find themselves cast among spiderwebs, fauna, and ambiguous backgrounds. The choice of a reflective floor was a deliberate contrast to the paintings, explained Iraj Nabavi, an associate director at the gallery. He also noted the importance of local galleries attending a fair in their own backyards. “There is something very natural about participating in this fair, not only because we’re happy to take part in ongoing networking with local collectors we have, but we also see it as support to the Geneva scene,” Nabavi told Artsy, adding that the gallery’s commitment to the local scene is further emphasized through showing the work of a Swiss artist.

Fainting Spell, 2023
David Weishaar
GALERIE MIGHELA SHAMA

Chemically Induced Magic Unfolds, 2023
David Weishaar
GALERIE MIGHELA SHAMA

Another local gallery in attendance was stalwart Xippas, which has operated a space in Geneva since 2011. “This is the time where we get to meet most of our collectors in just a few days,” said Tristen van der Stegen, a director at the gallery, which also has branches in Paris and Punta del Este, Uruguay. Van der Stegen noted that, while the fair was once seen as “local,” it has now broadened its scope of galleries and collectors. “Quite recently over the years, we have [seen] this extension,” he added.

Among those traveling furthest to attend the fair was first-time exhibitor Pearl Lam Galleries, which has physical locations in Hong Kong and Shanghai. The gallery was attracted to the strong European collector base, though attending the fair is also an extension of its mission to “bridge East and West” through its programming and international presence, explained Alena Ivanova, a director at the gallery. Artists from China, Nigeria, Slovakia, the U.K., and the U.S. were among those represented at the gallery’s booth, which was foregrounded by an imposing, 6.5-by-13-foot diptych by Zhu Jinshi, a pioneer of Chinese abstraction and installation art.

The work is a remarkable eye-catcher in a booth that features works by emerging Welsh textile artist Anya Paintsil, hyperrealist portraits by Nigerian artist Babajide Olatunji, and intense acrylic works by Chinese painter Zhu Peihong. “We do have a lot of interest towards Chinese artists,” said Ivanova. “For us, it’s important to understand local taste, how people perceive art, their perspective, and their cultural scene.”

Tribal Marks Series III #69 , 2022
Babajide Olatunji
Pearl Lam Galleries

Another gallery traveling a little further than most is Montreal’s Blouin Division, which is returning to the fair after a successful artgenève outing last year. Dominique Toutant, director at the gallery, remarked on the strong quality and knowledge of the collectors.

“I feel the clients of our work are cultured enough to go and listen, understand, and also enter into exchange with us,” Toutant said. While the gallery presented a three-artist presentation of works by Zhi Ding, Wanda Koop, and Tammi Campbell at last year’s fair, at this year’s edition, it features a wider breadth of talent from across its program. Among the works included is a sumptuous painting of a golden sun above water by Koop, with whom the gallery has worked for more than a decade. The artist is also currently featured in a solo show at Night Gallery in Los Angeles. “We have seen a growing of interest [in Koop], but she’s always been an amazing artist for us,” Toutant added.

Another highlight is a solo booth of works by Idir Davaine at Ketabi Bourdet, which is among the youngest galleries at the fair, given that it was founded in 2022. The French artist’s abstractions take slices of sunsets, rivers, and the natural elements in between, melding them into evocatively fluid visions. A visit to the fair last year was enough to convince the gallery to participate, noted co-founder Paul Bourdet.

At the booth of Parisian gallery and publisher Dilecta, a series of prints by the likes of Tacita Dean, Thomas Houseago, and Mircea Suciu is accompanied by a solo presentation of paintings by Swiss artist Jean Gfeller. Another discovery of the fair, Gfeller’s paintings depict suited figures caught in drab, ominous corridors, offering a humorous and strange portrait of office life. The booth marked the second appearance at the fair for the gallery, which was founded in 2005. “We organized Gfeller’s first solo show in Paris last year, and it’s the first opportunity, in effect, his first introduction to Swiss collectors,” said Elsa Paradol, a director at Dilecta. “So for him, it’s important. That’s why we decided to come back this year to allow him to find his public.”

Other standouts at the fair included a cross-generational presentation of Minimalist works at Bologna’s P420, which is making its third appearance at the fair; textural explorations at Beijing- and Paris-based HdM Gallery; and a wonderful survey of works from Pablo Picasso to Zao Wou-Ki at Paris gallery HELENE BAILLY.

Ultimately, artgenève seems to be in tune with the more relaxed rhythm of its visitors, who did not appear to be in any rush. Indeed, there is plenty for them to take in across the Geneva art world—from the Biennale de l’Image en Mouvement at the Centre d’Art Contemporain Genève to events at the Musée d’art et d’histoire, MAMCO, and the Centre de la photographie Genève, among others. Many of these institutions had booths at the fair, several of which were as well attended as those of their commercial counterparts.

Level? {NO DATA} #10, 2023
Jean Gfeller
Dilecta

Geography Biography (Mime Marceau), 2023
Tacita Dean
Dilecta

After a 2023 that was uneven at best for the art market at large, the spirit of the fair was a combination of bullishness and relief at the attendance of prominent buyers. Several dealers expected a broader crowd from across the continent to come through over the weekend and were confident about the conversations that they were already having. As the fair that fires the starting gun on a packed European art market calendar, artgenève will only tell a small slice of the story of how this year is shaping up. But from the quality of the work on view and the positivity of the galleries Artsy spoke to, it at least appears to be a hopeful signpost.

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Cindy Sherman stars in Marc Jacobs campaigns. https://ift.tt/7TAsnpH

Cindy Sherman—the legendary American photographer celebrated for her creative self-portraits—starred in Marc Jacobs’s recent spring/summer 2024 campaign. To mark the luxury brand’s 40th anniversary, German photographer Juergen Teller captured two of Sherman’s personas.

Debuting on Instagram on Wednesday, Teller’s photos feature Sherman as a blonde in a tweed two-piece outside Marc Jacobs’s 72 Spring Street location, and as a curly-haired, grunge brunette in black leather pants. The campaign also features musicians including Bladee, Lil Uzi Vert, and FKA Twigs.

Sherman recently opened an exhibition featuring 30 portrait works at Hauser & Wirth’s Wooster Street location in New York City.. These photographs are collaged together using excerpts from multiple photos to recreate and manipulate the artist’s face, which is further transformed through her typical use of makeup, costumes, prosthetics, and wigs. The exhibition will be on view until March 16th.

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10 Rising British Artists to Watch at This Year’s “New Contemporaries” https://ift.tt/qHAmt1c

Established in 1949, “New Contemporaries” remains the foremost annual survey of U.K.-based art students and recent graduates. With prestigious alumni including Paula Rego, Chris Ofili, Tacita Dean, and Mona Hatoum, the exhibition each year presents an undeniable opportunity to glimpse the practices that will shape the future of contemporary art. Returning to Camden Art Centre for the first time in over 20 years, the exhibition is on show in London through April 14th, having previously been presented at Blackpool’s Grundy Art Gallery.

The 2024 edition, curated by leading artists Helen Cammock, Sunil Gupta, and Heather Phillipson, features 55 emerging talents selected from a nationwide open call. Including a refreshingly diverse range of artists from many regions and backgrounds, the exhibition ricochets between mediums, methodologies, and ideologies.

Due to the quantity and variety of works on show, it is liable to feel somewhat disjointed. Yet, on close inspection, it’s clear that the exhibited artists are united by the urgent social and political concerns that underpin their practices, alongside a desire to transgress the boundaries of their respective mediums. Complex subject matter, such as identity politics, class and racial oppression, the climate crisis, migrant experiences, and more, materialize in works that simultaneously draw on global histories of art and culture while boldly carving out pathways to brighter futures.

Here, we highlight 10 standout artists from this year’s edition.

Bunmi Agusto

B. 1999, Lagos. Lives and works in London.

Through highly detailed and fantastical pieces, Bunmi Agusto allows the viewer a glimpse into her interior world. The artist names this psycho-surreal realm “The Within,” and sees it as a sanctuary—a site for uninhibited exploration of cultural theory, psychology, and the self. Combining geometric compositions inspired by West African aesthetics with uncanny landscapes and anonymous figures, the scenes Agusto creates rely equally upon her memory and her imagination.

Her piece on show at Camden Art Centre, Labour of Self Love (2023), is tender yet disconcerting. While a figure carefully plaits another’s afro hair in the foreground, the composition is unsettled by a one-eyed woman who stares boldly out of the frame. Inherently mysterious, this work implies that we are only seeing a fragment of the overall story.

Collective Entry, 2021
Bunmi Agusto
DADA Gallery

Having just graduated with an MFA in fine art from Oxford’s Ruskin School of Art, Bunmi Agusto has presented solo exhibitions in Lagos, with kó, and London, with TAFETA and DADA Gallery, which also featured her work at the 1-54 Contemporary African Art Fair in 2022. In 2023, Agusto caught the eye of acclaimed artist Yinka Shonibare, who included her in an exhibition at Stephen Friedman Gallery in London. Her work has been collected by the Samdani Art Foundation in Bangladesh, among others.

Alexandra Beteeva

B. 1999, Moscow. Lives and works in Glasgow.

Like many artists, Alexandra Beteeva uses painting as a tool to process her reality. As a Russian living in Glasgow, she explores her experience of cultural displacement and disorientation through the lens of nostalgia. By incarnating familiar scenes from found images and presenting them almost as her own memories, Beteeva assumes a closeness with moments she has never witnessed. In this way, her work can be understood as an alternative archive of the self.

Her exhibition piece, That’s more home to you than your house (2022), a peaceful scene of friends reclining by a lake, is reminiscent of a typical summer vacation. The closely cropped composition and casual, welcoming gestures of the figures pictured draw the viewer in as if they are part of the moment.

Schoolgirl, 2023
Alexandra Beteeva
Traits Libres Gallery

A graduate of the Glasgow School of Art, Beteeva’s work has been included in group shows in Dubai, London, and elsewhere in the U.K., and will feature in the RSA New Contemporaries Exhibition at the Royal Scottish Academy in Edinburgh later this year. It will also be presented at the Drawing Now Art Fair in Paris by Traits Libres Gallery, following her duo exhibition with the Paris gallery in 2023.

Harriet Gillett

B. 1995, East Yorkshire, England. Lives and works in London.

Harriet Gillett’s three miniature paintings are among the most enticing works on show. Intimate in scale and subject matter, they feature hazy renderings of the artist’s friends as if seen through a rose-tinted lens. Blurring the boundaries between abstraction and figuration, Gillett’s barely decipherable scenes demand a focused gaze.

Following an MA at City and Guilds of London Art School, Gillett has presented duo shows with London galleries New Normal Projects and Soho Revue, alongside group exhibitions with London spaces LAMB, Brooke Bennington, and Roman Road, as well as shows in Madrid and Turin. She was shortlisted for the Ingram Prize in 2020 and will undertake the prestigious Palazzo Monti Residency later this year.

Emily Kraus

B. 1995, New York. Lives and works in London.

Having graduated in 2022, Emily Kraus has already been heralded for her distinctive approach to painting. Currently represented by The Sunday Painter, she presented her debut solo show with the gallery in 2023, alongside group exhibitions at Matt’s Gallery and Sapling in London. In the same year, she won the Hopper Prize and was shortlisted for the John Moores Painting Prize.

Kraus’s method is highly unusual: To make her paintings, she stands inside a cage-like frame with a raw canvas looped around it. She then uses the struts of the metal cube as rollers, adding dabs of paint to the material then manually pulling it around the structure. In this way, she creates her recognizable linear marks. Having devised this technique to reconfigure the spatial constraints of her assigned studio at the Royal College of Art, she has come to rely on it as a way of expressing the cyclical rhythms of the natural world.

Stochastic 7, 2022
Emily Kraus
Guts Gallery

Alongside the Camden Art Centre, Kraus’s work is currently also on show at Walker Art Gallery in Liverpool as part of the John Moores Painting Prize, as well as in Duarte Sequeira’s exhibition “Echoes Across Surfaces” in Braga, Portugal and Kadel Wilborn’s group show “Painting, as it Were” in Düsseldorf, Germany. Later this year, she will present a solo at Galeria Mascota in Mexico.

Ranny MacDonald

B. 1994, London. Lives and works in London.

You Run My Mind, 2022
Ranny Macdonald
Moosey

Inspired by the writings of Donna Haraway, Ranny MacDonald explores the relationships between people and dogs as a tool to destabilize anthropocentric worldviews within his work. His canvases, which often have warped perspectives, challenge the viewer to inhabit the canine body and see their environment anew. Like Haraway, MacDonald is deeply concerned by the climate crisis, inviting humanity to build kinship with other life forms through his joyful and humorous pieces. His ecological interest extends to his materials: He uses handmade pigments formed from discarded metal oxides, crushed bricks, and soil.

He studied at both the Slade School of Fine Art and City and Guilds of London Art School, before completing The Royal Drawing School Drawing Year in 2022. In 2023, he presented his debut solo show with Moosey in Norwich, England, and has featured in group exhibitions with galleries including Marlborough London and South Parade. Next year he will undertake the prestigious Palazzo Monti Residency in Italy while preparing for his second solo presentation with Moosey.

Charan Singh

B. 1978, India. Lives and works in New Delhi and London.

Charan Singh’s film They Called it Love, But Was it Love? (2020) is both mesmerising and important. It depicts scenes from the lives of “kothis” (a term used in India to denote an effeminate male who may prefer to be the receiver of penetration in same-sex relationships) on their own terms. Taking individuals who are often cast as nothing more than a “risk group” in public health campaigns and misunderstood through Western notions of gender and sexuality, Singh’s piece positions them as protagonists, illuminating their real lives and human desires.

Drawing on the artist’s involvement with HIV/AIDS advocacy and community activism, Singh’s work seeks to create resistance through storytelling. His depiction of multilayered gender experiences and the ephemeral nature of queer desire in India often aims to reclaim marginalized identities and subcultures.

Singh is currently undertaking a practice-led PhD at the Royal College of Art, and has exhibited with institutions including the Schwules Museum Berlin, the Contemporary Art Museum Houston in Texas, The New Art Gallery in Walsall, and the Photographers Gallery in London.

Jame St Findlay

B. 1994, Scotland. Lives and works in London.

A current student at London’s prestigious Royal Academy, multidisciplinary artist Jame St Findlay presents his film Death Knell (2022), a painful, poignant examination of working conditions under late capitalism. The absurd, yet relatable film features a bewildered office worker who, on realizing he has wasted his life working for an anonymous corporate entity, takes an aimless stroll through a forest. Between climbing trees and swimming fully clothed in a lake, the film’s protagonist delivers sobering monologues detailing his life story—described as “a journey with nothing at the end of it.”

Infused with dark humor, St Findlay’s work often centers around narratives of collapse and impending doom. The artist’s surreal cinematic universe revels in melodrama, identifying with the age-old adage that laughter is the best medicine.

St Findlay has presented recent solo exhibitions at Celine Gallery in Glasgow, and in London at Lucas Gallery and Gathering, following their 2020 residency at RUPERT, a publicly funded institution in Vilnius, Lithuania.

Georg Wilson

B. 1998, London. Lives and works in London.

A recent graduate of the Royal College of Art, Georg Wilson creates whimsical renderings of rural bliss, which have garnered her significant attention. Currently represented by Berntson Bhattacharjee, she has mounted a solo exhibition with the gallery in London, alongside presentations with Palazzo Monti in Italy, Kravets Wehby Gallery in New York and Arusha Gallery in Bruton, England.

The Ingram Prize–nominated artist’s work has also featured in group shows in London at LAMB, Marlborough London, Hannah Barry Gallery, and Soho Revue, and internationally at Philip Martin Gallery in Los Angeles and 1969 Gallery in New York. Wilson also has a current solo exhibition with Public Service Gallery in Stockholm.

Never Leave Again, 2023
Georg Wilson
Arusha Gallery

In her practice, the British landscape is reimagined through renderings of fictional events and fantastic terrains, often populated by bulbous, untamed creatures. By giving form to a world where benevolent beasts convene merrily with their surroundings, Wilson aims to ignite a renewed enchantment with the natural world.

Joshua Woolford

B. 1992, Milton Keynes, England. Lives and works in London.

Developed in 2020, during the height of the Black Lives Matter protests, Joshua Woolford’s film BLK Movement (2020) utilises dance as a powerful form of resistance against racialized and class oppression and heteropatriarchy. By positioning their own body as the subject within the film, the artist draws their personal experience as a member of the queer Black Afro-Caribbean diaspora into the frame.

Working between performance, painting, sculpture, sound, video, and installation, Woolford roots their practice in extensive cultural research spanning literature, music, and art. BLK Movement (2020), for example, features popular music by Nina Simone and Billie Holiday dating back to the Civil Rights Movement in the U.S.

Woolford recently graduated with an MA from the Royal College of Art, and was the 2023 research and interpretation artist in residence at Tate. They have presented exhibitions and live performances at multiple significant institutions including the Museum of Technology in Helsinki; the Van Abbemuseum in Eindhoven, Netherlands; and Soho House, Somerset House, the Black Cultural Archives, the Victoria & Albert Museum, and Tate Britain in London.

Osman Yousefzada

B. 1977, Birmingham, England. Lives and works in London.

Artist and writer Osman Yousefzada’s interdisciplinary practice can be summarised as an act of storytelling. Blending autobiographical material with fiction and ritual, he is interested in the representation of immigrant experiences.

His powerful textile piece on show at Camden Art Centre, Migrant Godxx II (2021), was inspired by fortune-telling devices historically used in Iran, Turkey, and India. Alluding to uncertain futures and a desire to know one’s destiny, the piece can be considered a metaphor for the potential fear and risk associated with moving from one county and culture to another.

A current PhD student at the Royal College of Art, the artist has presented solo exhibitions at renowned institutions including the Victoria & Albert Museum in London and Ikon Gallery in Birmingham, and has been included in group presentations at Whitechapel Gallery in London, Sydney’s Museum of Contemporary Art, the Cincinnati Art Museum in the U.S., Lahore Museum in Pakistan, and the Dhaka Art Summit in Bangladesh. He will also present a solo show at the Palazzo Franchetti next year during the 60th Venice Biennale, hosted by the Victoria & Albert Museum and the Fondazione Berengo.

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