Art Basel and beyond

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Its been said again and again, Art Basel’s 46th edition has been the ultimate money-making success. But to find the up-and-coming talents, you must step away from the financial fanfare and leave the main arena, even if newcomers such as Rodeo, a gallery based in Istanbul with new quarters in London, are this year joining the main fair’s heavyweights. Sylvia Kouvali, director of Rodeo, is so pleased with the fair she wants it to start all over again. Its a unique opportunity for gallerists such as Kouvali to exhibit radical artworks: installations, Duncan Campbell films, Turner in 2014 and minimalist sculpture which will also be at the FIAC. Her gallery is certainly one to watch.

A photographic duet of sorts took place on the stand of Raffaella Cortese Gallery, revisiting works by photographers Zoe Leonard and James Willing and Tel Aviv-based Braverman gallery, first-time exhibitors at Basel, displayed the second flight of the trilogy "Ishmael" by videographer Nira Pereg, which could arguably have benefitted from more space.  

Additionally, Art Basel’s “Statements” section presents new solo projects by young emerging artists such as Caline Aoun represented by Grey Noise Gallery, and Kasper Akhoj at Ellen de Bruijne, whilst Spanish artist Lara Almarcegui is exhibiting “Excavation from Basel” at the Kunsthaus Baselland until July 12.  

At Volta, great surprises were in store from Tyler Rollinswho presented American-Vietnamese artist Tiffany Chung, commended for her Venice Biennale cartographic and installation display, selling upwards of $6,500.

Interesting works by Travis Somerville featured at Alabama-based Beta Pictoris / Maus Contemporary Art, investigating the history of North America’s black population, whilst Danish-based gallery Martin Asbaek also presented Nicolai Howalt’s work focusing on light therapy.


 

At Scope, Basel’s art show on the Rhine, it's just as well there is a nice view of the river since there's little on offer.  Visitors are scarce, and the only work worth seeing is Kir Royal Gallery’s Keke Vilabelda and his cement-plexi glass creation, on sale for €6,000.


On the other hand, Liste celebrates its 20th year. Located only minutes away from its sister fair, Liste was bought by Art Basel only a few years ago. It feels the naughty schoolboy of all the fairs, where anything goes. As an incubator for emerging galleries, it is a springboard towards success, which many galleries are still benefitting from.

Here, its a question of taste and budget, the possibility of buying becomes a little more accessible; galleries from France are abundant, mainly those from Paris’ 19th arrondissement, but also Mexicans, Columbians, a gallery from Guatemala, all with diverse presentations, even if some were rather stilted.  In the marquee, Irish gallery Mother's Tankstation exhibited humorous collages by Alasdair Mcluckie. Overduin & Co had works by Will Benedict, painting installations, and a solo show by Debora Bolsoni at Jacqueline Martins from Sao Paolo was located on the top floor.

New discoveries and new affirmations were made, but Liste remains to be the art fair not to be missed.