Artists Guide Our selection Nuestra selección - Art Basel Miami Beach - Le Quotidien de l'Art
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Special edition/ Número especial - 12.2019
Art Basel Miami Beach
Artists Guide
Our selection
Nuestra selección
FROM BOAFO
TO VIALLAT
18 talents to follow /
18 talentos a seguir
MERIDIANS
A new sector /
Un nuevo sector
English / Español free / gratuito
UNIQUE DOMAINS CREATIVE COMMUNITY DIGITAL TRUST /start-your-journey art.art
Miami thinks big
CONTENTS / SUMARIO
269 galleries including 203 in the main sector: that’s a
lot of eye candy! For its 18th edition, Art Basel Miami
P4 Amoako Boafo
Beach continues to present a broad overview of art
from around the world, with a particular focus on
© Betrand Rieger
P6 Richard Bosman
America, of course, where half of the exhibitors have
a permanent base. Europe does however make its
Rafael PIC P7 Sidival Fila
presence felt, although one might say by
“contamination”, in this year’s major innovation,
Meridians. This new sector, in addition to the usual
P8 Hilary Harkness
Kabinett, Nova, Positions and Survey, is curated by
Magali Arriola, director of Mexico City’s Museo Tamayo and is clearly P9 Renatto Leotta
inspired by Unlimited, which has proved its worth at the original fair in
Basel. It is presenting some thirty large-scale installations (some very P10 Artur Lescher
recent) in the newly refurbished Convention Center’s Grand Ballroom.
These installations confirm a direct line of descent from the Roman artists P11 Tau Lewis
of Antiquity, down through the Renaissance to the present day as, in all
this time, artists have never fallen out of love with monumental works! P12 Candice Lin
P13 Helen Lundeberg
Miami piensa en grande
P14 Isa Melsheimer
269 galerías de las cuales 203 en el sector principal: ¡perfecto
para los curiosos! Para su 18ª edición, Art Basel Miami Beach
continúa ofreciendo un panorama muy amplio del arte P15 Ana Mendieta
mundial con, evidentemente, un foco especial sobre América,
donde la mitad de los exponentes está basada. Sin embargo, P16 Richard Pettibone
se podría decir que la presencia de Europa se hace sentir por
"contaminación". Al lado de las secciones habituales, P18 Cinga Samson
Kabinett, Nova, Positions y Survey, la gran novedad de este
año es Meridians, sector comisariado por Magali Arriola,
P19 Alexis Smith
directora del museo Tamayo de México. Claramente inspirada
en Unlimited, que ha demostrado su valía en la feria de
Basilea, presentará en el Grand Ballroom del recientemente P20 Tercerunquinto
reformado Convention Center una treintena de instalaciones
fuera de lo común, algunas muy recientes, que confirman una P21 Oscar Tuazon
filiación desde los Romanos hasta nuestros días, pasando por
el Renacimiento : ¡los artistas no han perdido nunca el gusto P22 Claude Viallat
por lo monumental!
The Art Daily News/Le Quotidien de l’Art
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Friday, December 6, 2019, 12 noon to 8pm L’Hebdo du Quotidien de l’Art : Editorial advisor Roxana Azimi
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Cover Amoako Boafo, Cobalt Blue Earring, 2019, oil on canvas, 82,67 x 66,92 inches. Courtesy Mariane Ibrahim.
artbasel.com/miami-beach
© ADAGP, Paris, 2019 pour les œuvres des adhérents.
/3
Art Basel Miami Beach 2019
Amoako
Boafo
Mariane Ibrahim
(Chicago) / NOVA /
Booth N5
By/Por François Salmeron
A
fter the success of his
solo show at the FIAC
when all of his
paintings sold at the start of
the fair, Amoako Boafo looks
set to establish his place on the
contemporary art scene with
“Black Diaspora”, a series of
large format portraits that he
Courtesy Mariane Ibrahim.
began in 2018. In these
paintings, he portrays other
members of his generation,
friends and acquaintances
T
Amoako Boafo,
from Vienna, Berlin and Ghana, isolating their Cobalt Blue Earring, ras el éxito de su única exposición en la FIAC,
silhouette against a shimmering monochrome donde todos sus cuadros fueron vendidos desde
2019, oil on canvas,
background which, by a play of contrast, 82,67 x 66,92 inches. la apertura, Amoako Boafo ha arrancado para im-
emphasizes their black skin. Using his fingers, he ponerse en el mundo del arte contemporáneo con su serie
applies diluted oil paints directly onto the canvas, de retratos en gran formato, "Black Diaspora", inaugurado
eliminating any decorative elements and focusing en 2018. En dicha serie, retrata a amigos y conocidos veni-
attention on his subjects’ faces and poses, which dos de Viena, de Berlín o de Ghana que pertenecen a su
are in turns solemn and serene. In this way, Boafo generación, aislando la silueta sobre fondos monocromá-
highlights the penetrating gaze and sheer energy ticos rosados con la finalidad de realzar, por contraste, su
that radiates from the subjects of his portraits piel negra. Trabajando con pintura al óleo diluida que aplica
and, in so doing, asserts the presence of black directamente sobre el lienzo con sus dedos, Boafo elimina
people in the history of art: “The primary idea of Biography todo elemento decorativo en sus composiciones, y foca-
my practice is representation, documenting, 1984 Born in Accra, Ghana liza nuestra atención sobre las caras y las poses alternati-
celebrating and showing new ways to approach 2007 Degree from vamente solemnes o distendidas de sus sujetos. El artista
blackness.” the Academy of Fine Arts, valoriza así la mirada penetrante y la energía irradiante que
Vienna
se desprenden de los retratados, y afianza de esta mane-
2016 Collective exhibition
“Step Into the Darkness“ ra la presencia de población negra en la historia del arte:
at the Kunsthalle Vienna "La idea de mi práctica es representar, documentar, cele-
2018 Solo exhibition “I See brar y mostrar nuevas maneras de aprehender la negritud."
Me“ at Roberts Projects
(Los Angeles)
Lives and works in Vienna,
Austria
4/
SAVE THE DATE Official partner
Art Basel Miami Beach 2019
Richard Bosman
Nicelle Beauchene (New York) / SURVEY / Booth S4
By/Por Rafael Pic
H
is creations are midway between naïf,
Mexican ex-votos and the covers of
American airport novels. They combine
the comic book genre (deforming it with just a
touch of humour) with the typical illustrations
seen in thrillers. They teem with rugs, Bakelite
telephones, attaché cases, overflowing ashtrays
and blood splattered kitchen knives. A
representative of Neo-Expressionism in 1980s
New York (the same period the gallery is
presenting at its booth) and still faithful to a
classic, if somewhat deliberately awkward
figurative approach, Richard Bosman revels in
crime scenes, suicides and love affairs gone
wrong. His characters in suits and ties lying dead
on beds, on the run, smoking a last cigarette and
only rarely in a lover’s embrace, convey the
feelings of solitude and the frantic, never-ending
hustle and bustle of the modern city, which are
the subject of his paintings.
Courtesy Richard Bosman and Nicelle Beauchene Gallery.
Biography Richard Bosman, Uptown Murder, 1981, oil on canvas, 84 x 66 inches.
1944 Born in Madras,
India
1971 Graduates from
S
the New York Studio
School us obras están a medio camino entre ingenuos
1984 "Paradise Lost/ exvotos mexicanos y portadas de novelas de ae-
Paradise Regained: ropuerto. Ellas cruzan, deformándolos con un
American Visions
of the New Decade", toque de humor, el repertorio del cómic y el de las ilustra-
Venice Biennale ciones de historias de aventuras. Abundan moquetas,
1994 Guggenheim teléfonos en baquelita, maletines, ceniceros y colillas,
Fellowship cuchillos de cocina ensangrentados… Exponente del
Lives and works
in Esopus, New York neoexpresionismo neoyorquino de los años 80 (el perio-
do que presenta la galería en su stand) se mantiene fiel a
una figuración clásica, expresamente un poco torpe. Ri-
Courtesy Richard Bosman and Nicelle Beauchene Gallery.
chard Bosman se alimenta de escenas de crímenes, de
suicidios, de asuntos del corazón que terminan mal... A
través de estos personajes en traje de baño, yaciendo
Richard Bosman, sobre una cama o en plena huida, fumando un último ci-
Pursuit at the Beach, garro, raramente abrazados, la soledad y al mismo tiempo
1981, oil on canvas, la agitación incesante de la metrópoli moderna son el
108 x 75 inches. sujeto de sus ilustraciones.
6/
Sidival Fila,
Phoenix n°2,
«Phoenix» serie, 2017,
cement and wood ash
on cotton, vine branch,
stitched, on frame,
129,92 x 70,86 x
11,81 inches.
Sidival Fila
Jérôme Poggi (Paris) / NOVA / Booth N10
By/Por Armelle Malvoisin
B
razilian painter Sidival Fila works with
found materials such as paper, wood,
plaster and old cloth, drawing inspiration
from Action Painting, Spatialism and Informal
Art. He moved to Italy 25 years ago to study art
theory and improve his knowledge of painting
and sculpture. Although a Franciscan monk,
he manages to marry his religious vocation and
Biography
his art, conducting in parallel a career as an
international artist, whilst in charge of the San 1962 Born in the State
Bonaventura al Palatino Franciscan monastery in of Parana, Brazil
Rome. Resonating with the project that he 2015 Solo exhibition
presented at this year’s Venice Biennale, his solo “TrasFormAzione“
at Museo Carlo Bilotti,
show “Amazonia” focuses on the destruction Rome
of the Amazon rainforest. It brings together ten
E
2016 Solo exhibition
or so monochrome canvases in the folds of which “Metafora“ at Palazzo l pintor Sidival Fila se inspira de la Action Painting,
he has sewn vine shoots and dead branches. Pamphili, Rome del Espacialismo y del arte informal, utilizando
2019 Exhibition at the
Steeped in ash or pigments, the threads that Venice Biennale
materiales de recuperación como el papel, la
encircle these foreign bodies can be considered Lives and works in Rome, madera, la escayola, textiles usados… Instalado en Italia
as representing either a shroud or a bandage. Italy desde hace 25 años con el fin de estudiar teoría del arte
y prácticas esculturales y pictóricas, sigue una vocación
religiosa como monje franciscano. Sin renunciar a su
carrera artística internacional, dirige el convento francis-
cano de San Bonaventura en el Palatino de Roma. Ha-
ciendo eco al proyecto que ha presentado este año en la
Bienal de Venecia, su exposición "Amazonia" pone en
relieve la destrucción de la selva amazónica. Están reuni-
das una decena de lienzos monocromáticos en los plie-
gues de los cuales están cosidos sarmientos de vid o
ramas de madera seca. Impregnadas de cenizas o de
pigmentos pictóricos, los hilos que encierran estos cuer-
pos extraños en el lienzo juegan el rol de una sábana o
de un apósito, según se desee.
Sidival Fila, Senza Titolo 25, (detail),
2018, diptych, dry pigments on canvas and vine shoot painted,
stitched on frame, 67,71 x 35,43 each x 6,69 inches.
/7
Art Basel Miami Beach 2019
Hilary Harkness
P.P.O.W (New York) / KABINETT / Booth E16
By/Por Alison Moss
Courtesy of Hilary Harkness and P.P.O.W.
T L
he gallery presents several of the artist’s Hilary Harkness , a galería presenta varias obras de la artista, una
works, one of them inspired by a historical Permission Granted de ellas inspirada en un lienzo histórico de Wins-
piece by Winslow Homer, Prisoner Fronts, (Francis and Harriet), low Homer, Prisoner Fronts, realizado en 1866,
which was painted the year following the 2019 , oil on linen mounted justo un año después de la guerra civil norteamericana.
on panel, 7 x 6 inches.
American civil war (1866). Each character is given La artista estadounidense otorga a cada uno de sus pro-
an imaginary role: the general of the Unionist tagonistas un papel imaginario: ya sea esbozando un
party, Francis Channing Barlow, is portrayed as retrato andrógino del general del partido Unionista, Fran-
an androgynous being, while Arabella Freeman, a cis Channing Barlow, o exaltando el poder de seducción
landowner from Virgina - whose features are Biography de Arabella Freeman, terrateniente procedente de Virgi-
inspired by those of Harkness’s partner - is na, cuyos rasgos se inspiran en los de su pareja.
1971 Born in Detroit,
depicted as a seductive force. Mixing reality and Michigan Mezclando realidad y ficción, Harkness analiza la rele-
fiction, Harkness analyzes the relevance of 1996 Master’s degree in vancia de los relatos históricos y de las estructuras de
historical narratives and power structures in the Fine Arts from Yale poder en la era post-colonial, aquí bajo la perspectiva de
University (New Haven,
post-colonial era, in this case, under the las relaciones interraciales. Sus composiciones comple-
Connecticut)
perspective of interracial relationships. Her 2009 Receives the jas y detalladas, inspiradas en las de los maestros anti-
complex and detailed compositions, inspired by Rosenthal Family Award guos, como Bosch, Bruegel o Altdorfer, pueden exigirle
those of the old masters, such as Bosch, Bruegel 2013 Monographic hasta un año de trabajo. La artista estuvo representada
exhibition at The FLAG Art
or Altdorfer, often demand a year of work. The por la galería Mary Boone durante 16 años hasta su cierre,
Foundation (New York)
artist was represented by Mary Boone’s gallery Lives and works in en febrero.
from 2003 up until its closing this past February. New York City
8/
Renato Leotta
Madragoa (Lisbon) / POSITIONS /
Booth P10
By/Por Pedro Morais
R
Renato Leotta,
Courtesy Renato Leotta and Madragoa.
enato Leotta lives and works between
Orizzonte,
Turin – where he founded Cripta747, one
of the most noteworthy artist-run spaces 2019, cotton, salt water,
3 parts, 33 x 37 inches
in Italy – and Acireale, which is a source of (each), unique.
inspiration because of the Sicilian origins of his
family. Like an archaeologist of the here and now,
I
he starts by observing the environment. Working nstalado entre Turín – donde fundó Cripta747, uno de
across various mediums including sculpture, los Espacios Artísticos Autogestionados italianos
installation, textile and film, Leotta incorporates más destacados – y Acireale, fuente de inspiración
natural elements such as gravity, the moon and para su trabajo, en estrecha relación con los orígines sici-
the ocean into his work. Recent projects have seen lianos de su familia, Renato Leotta parte de la observa-
him working on both sides of the Atlantic, ción del medio ambiente para desempeñar el rol de un
drawing inspiration from the coastlines of Sicily arqueólogo del presente. A través de esculturas, instala-
and Portugal and studying the relationship ciones, textiles y películas, emplea elementos naturales,
between the natural and built environment como la gravedad, la luna o el océano. Para sus últimos
in Long Island. Whether he is taking photos of Biography proyectos ha trabajado en ambos lados del Atlántico, en
the full moon with a camera obscura submerged 1982 Born in Turin las costas Sicilia, Portugal y Long Island, donde se inspira
in the Hudson River, or casting sand relief 2018 Takes part in en las relaciones entre lo natural y lo construido. Ya sea
sculptures on the beaches of Portugal, Leotta’s Manifesta 12, Palermo realizando fotografías de la luna llena sumergido en el río
2019 Solo exhibition
work examines our perception of nature in Hudson, con una cámara oscura, o relieves de arena en
Gropius Bau, Berlin
the Anthropocene. Lives and works in Turin las playas de Portugal, su trabajo examina nuestra per-
and Acireale, Italy cepción de la naturaleza en la era del Antropoceno.
ANDRÉ-PIERRE ARNAL
LOUIS CANE
MARC DEVADE
Marc Devade, Sans titre, 1969, acrylic on canvas, 60.2 × 59.8 in. © Aurélien Mole. Courtesy Ceysson & Bénétière
DANIEL DEZEUZE
NOËL DOLLA
BERNARD PAGÈS
PATRICK SAYTOUR
CLAUDE VIALLAT
DECEMBER 5 - 8, 2019 | Booth C14
Art Basel Miami Beach, FL 33139
Ceysson & Bénétière
/9
Art Basel Miami Beach 2019
Artur Lescher
Nara Roesler (Rio, New York, São Paulo) – OMR (Mexico) / MERIDIANS / Booth M5
By/Por Rafael Pic
O
bra monumental de casi 7 metros de altura,
Machine River (Río Máquina) marcó en 2008 un
logro en la carrera del artista brasileño. Formada
por varias redes metálicas de acero inoxidable, inspirada
en la forma de las cascadas, es emblemática de su tra-
bajo con el espacio y de su relación con la naturaleza.
Amante de la utilización del metal, de la piedra o de la
madera, produciendo formas simples y sólidas que sus-
pende para jugar con el equilibrio y la gravedad, Lescher
se sitúa en la intersección entre la escultura, la arquitec-
tura y el diseño. Pero su obra debe leerse también a tra-
vés del filtro de la filosofía (que ha estudiado brevemente
Photo Fernando Laszlo/Courtesy Artur Lescher and Galeria Nara Roesler.
en la universidad) o de la poesía: sus piezas lisas, traba-
jadas, depuradas, simétricas, nos interrogan sobre la
simbología de las formas, en la estela de Brancusi, una
de sus más reconocidas.
M
Artur Lescher,
achine River (2008) or Rio Máquina in Rio Máquina,
Portuguese, a monumental work (detail), 2009, stainless
measuring almost 7 metres in height, steel,
165,4 x 267,7 x 95,7 inches,
represents a crowing moment in the Brazilian unique.
artist’s career. Made of a stainless steel mesh that
flows down to the floor in a waterfall-like manner,
it is emblematic of his work with space and his
relationship with nature. Lescher likes to work
with metal, stone or wood, creating simple, full Biography
shapes that he suspends in order to play with 1962 Born in São Paulo,
balance and the force of gravity. His work is at the Brazil
crossroads of sculpture, architecture and design, 1987 Shows 2 zeppelins
at Bienal de São Paulo
but his corpus should also be considered through 2005 Takes part in
the prism of philosophy (which he briefly studied 5th Bienal do Mercosul,
at university) and poetry: following in the Porto Alegre, Brazil
footsteps of Brancusi, to whose influence he 2006 Kajima Sculpture
Award, Tokyo
willing admits, his smooth and machined, pure, 2017 Solo show at Palais
symmetrical works question the symbolism of d’Iéna, Paris
form. Lives and works
in São Paulo
Artur Lescher,
Rio Máquina,
2009, stainless steel,
165,4 x 267,7 x 95,7 inches,
unique.
10 /Tau Lewis
Cooper Cole (Toronto) / POSITIONS /
Booth P4
By/Por Laure Martin
Courtesy Tau Lewis and Cooper Cole.
Tau Lewis,
T L
Harmony,
au Lewis is a young, self-taught Jamaican- 2019, recycled leather, a práctica autodidacta de esta joven artista cana-
Canadian artist, whose practice raises recycled poly-fibers, rebar, diense de origen jamaicano busca cuestionar los
wire, hardware, seashells,
questions about personal and collective traumas raciales personales y colectivos. A tra-
stones, acrylic paint,
racial trauma. Her organic sculptures made from 39,75 x 47 x 35 inches. vés de la creación de esculturas orgánicas realizadas
found and repurposed materials – fabric, con materiales reciclados – telas, desechos industriales
industrial scrap and found objects – challenge the u objetos encontrados – se interroga sobre la materiali-
materiality of things and resonate with the dad del objeto haciéndose eco de la experiencia de la
experience of the black diaspora. In her “Soft Biography diáspora africana. En su serie "Soft Portraits", comenzada
Portraits” series that she began in 2017, Tau Lewis en 2017, Tau Lewis presenta composiciones complejas
1993 Born in Toronto,
presents complex, textured and colourful hand- Canada con diferentes texturas y colores, cosidas a mano y
sewn creations with faces, feet and hands 2014 First Solo exhibition cuyos rostros, pies y manos están esculpidos en escayo-
constructed out of plaster. These imaginary “This Is Not For You”, la. Estos personajes imaginarios, sentados o tumbados,
Edward Day Gallery,
characters, sometimes sitting, sometimes lying cuestionan el poder del reciclaje con el objetivo de pro-
Toronto
down, explore the power of recovery and suggest 2016 Toronto Arts Council poner una nueva narración histórica.
a new historical narrative. Scholarship
2018 Winner of the Frieze
Frame stand prize
with the Cooper Cole
Gallery, New York
Lives and works in Toronto
/ 11Art Basel Miami Beach 2019
Candice Lin
Ghebaly Gallery (Los Angeles) /
MERIDIANS / Booth N22
By/Por Magali Lesauvage
L
Photo Ian Byers-Gamber/Courtesy Candice Lin and François Ghebaly.
a Charada China (Tobacco Version) is a sort
of portrait. It takes the form of the
silhouette of a man cut out of tobacco
leaves, which is laid out on a table. Various objects
are arranged around him: cacao beans, ceramics,
Chinese herbs, opium poppies and a teapot.
A tincture of sugar, tea, tobacco and urine etc
boils away in a still situated at the level of
the abdomen. With her “Chinese Charade”, Candice Lin,
the 40-year-old American artist and recent La Charada China
winner of the Joan Mitchell Foundation Award (Tobacco Version)
L
continues to bring colonial violence to light, 2019, cement with casein a Charada China (Tobacco Version) es un tipo de
paint, welded steel table
evoking here the memory of those people of Asian frame, tobacco, ceramics,
retrato que toma la forma de una mesa sobre la
origin who were forced to come and work distillation system (distilling cual, en hojas de tabaco, se recorta la silueta de
on plantations in the Caribbean and a tincture of tobacco, sugar, un hombre. Alrededor suyo, están dispuestos objetos
tea, poppy and piss), poppy
South America. pod putty, sugarcane, white diversos: semillas de cacao, objetos de arcilla, hierbas
sugar, cacao, sage, ackee, de China, amapolas, una tetera... así como una mezcla
oak gall, Anadenanthera,
de azúcar, té, tabaco, orina, etc. que finaliza en un desti-
dong quai, California clay,
Dominican Republic clay, lador situado a nivel del abdomen. Con esta “charada
dried indigo, glass slides, china”, la artista estadounidense de 40 años, reciente-
bottles, drawings, rubber,
metal parts, bucket, pumps, mente galardonada con el premio de la Fundación Joan
tubing, tile, wood,installation Mitchell, evoca la memoria de las personas de origen
dimensions variable.
asiático forzadas en el Siglo XIX a ir trabajar a las planta-
ciones del Caribe o de Sudamérica. Prosigue así su tra-
bajo de actualización de las violencias coloniales.
Biography
1979 Born in Concord
(Massachusetts)
2001 B.A. in Semiotics
& B.A. in Visual Arts,
Brown University,
Providence (Rhode Island)
2004 M.F.A. in New
Genres, San Francisco
Art Institute, California
2017-2018 Solo show
“A Hard White Body“,
Bétonsalon, Paris, France,
Reva and David Logan
Center for the Arts,
University of Chicago,
Illinois, Portikus, Frankfurt,
Germany
2019 Joan Mitchell
Foundation Award
Lives and works
in Los Angeles
Photo Ian Byers-Gamber/Courtesy Candice Lin and François Ghebaly.
Photo Ian Byers-Gamber/Courtesy Candice Lin and François Ghebaly.
Candice Lin,
La Charada China
(Tobacco Version)
(detail), 2019.
12 /Helen
Lundeberg
Louis Stern Fine Art (West Hollywood) /
SURVEY / Booth S7
By/Por Marine Vazzoler
©The Feitelson/Lundeberg Art Foundation, reproduced by permission. Courtesy Louis Stern Fine Arts.
©The Feitelson/Lundeberg Art Foundation, reproduced by permission. Courtesy Louis Stern Fine Arts.
Helen Lundeberg,
Arcanum I
1967, acrylic on canvas,
60 x 40 inches.
T L
he Californian gallery is presenting several Helen Lundeberg, a galería californiana presenta diversas piezas
abstract works painted by the American Untitled, abstractas que la pintora estadounidense realizó
artist Helen Lundeberg in the 1960s. 1968, acrylic on canvas, a finales de los años 1960. Aunque en 1934 funda
Although in 1934, together with her former 30 x 30 inches. junto a su antiguo profesor y después marido Lorser Fei-
teacher turned husband Lorser Feitelson, she had tenson lo que ellos llamaron el "clasicismo subjetivo",
founded what they called “subjective classicism” igualmente conocido bajo el nombre de post-surrealis-
(also known as Post-Surrealism), in the 1950s mo, la pintora pone rumbo hacia la abstracción geomé-
Lundeberg turned to geometric abstraction. She trica desde los años 50 hasta los 70. Creadas entre 1964
would continue in the same vein until the 1970s. y 1969, las obras expuestas tienen en común composi-
The works on show, created between 1964 and ciones precisas y una gama de colores limitada. Paisajes
1969, share a limited palette and tight interiores, naturalezas muertas, formas realizadas intuiti-
composition. Helen Lundeberg’s images - interiors, vamente, las imágenes de Helen Lundeberg son miste-
still lifes and intuitively painted shapes – are riosas, al límite del arte figurativo. Sus obras han sido ex-
mysterious and border on figuration. They have puestas en numerosas instituciones estadounidenses
been exhibited in numerous American como el Getty Museum de Los Angeles o el Whitney
institutions, such as the Getty Museum in Los Museum de Nueva York.
Angeles and the Whitney Museum in New York. Biography
1908 Born in Chicago
1930 Graduates from
Pasadena Junior College
1936-1942 Employed
by the the Work Progress
Administration’s Federal
Art Project in Los Angeles
for which she produces
murals and lithographs
1950s Begins to create
abstract paintings
1999 Dies in Los Angeles
/ 13Art Basel Miami Beach 2019
Isa Melsheimer
nächst St. Stephan Rosemarie Schwarzwälder (Vienna) / KABINETT / Booth D13
By/Por Oscar Heinke
F R
rom tree branches to car tires, from metal amas de árboles, neumáticos, metal, papel
to papier mâché and plastic bottles, from maché, botellas de plástico, alambres, clavos,
wires and nails to seeds and plants, the semillas, plantas... los materiales que dan cuer-
materials giving substance and body to Isa po a las esculturas e instalaciones de Isa Melsheimer
Melsheimers sculptures and installations are son múltiples. Aunque difieran de una obra a otra, estos
manifold. Yet, as different as the components may componentes definen el lenguaje visual de la artista y
be from one work to another, they form cohesive dan cuerpo a su reconocible estética. La galería muestra
ensembles in which the artist’s very own visual una serie de sus esculturas recientes tituladas "Metabo-
vernacular leads to her signature aesthetic. The litos". Estas esculturas de cerámica yuxtaponen formas
gallery is showcasing a recent series of sculptures arquitectónicas rectas y objetos orgánicos coloridos para
by the German artist. Titled "Metabolites", these así representar la renaturalización y la ruina de los edifi-
ceramic sculptures juxtapose straight cios. Las obras de Isa Melsheimer estan expuestas en
architectural forms and colourful organic objects colecciones privadas y públicas en el mundo entero,
in order to represent the renaturalisation as well como la Berlinische Galerie (Berlín), el Museo de Arte
as the ruination of buildings. Isa Melsheimer’s Contemporáneo de Nîmes (Francia), el Centro Nacional
works are featured in private and public de Artes Plásticas (CNAP) en París y la Collezione la Gaia
collection around the world, such as the (Busca, Italia).
Berlinische Galerie (Berlin), the Musée d’art
contemporain de Nîmes (France), the Centre
national des arts plastiques (CNAP) in Paris and
the Collezione la Gaia (Busca, Italy).
Isa Melsheimer,
Metabolit 6,
2019, glazed ceramic,
19 3/4 x 11 x 8 5/8 inches.
Biography
1968 Born in Neuss,
Germany
1997-1999 Studies under
Georg Baselitz at the
Hochschule der Künste in
Berlin
2005 Scholarship Chinati
Foundation/Artist in
residence, Marfa, Texas,
USA
2008 Art Prize of the city
of Nordhorn, Germany
2013-2014 Artist in
residence, Villa Massimo,
Rome, Italy
Photo and Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder.
Lives and works in Berlin
Photo and Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder.
Isa Melsheimer,
Metabolit 7,
2019, glazed ceramic,
24 x 16 x 18 1/2 inches.
14 /Ana
Mendieta
Lelong (Paris, New York) /
MERIDIANS / Booth M21
By/Por Marine Vazzoler
A
na Mendieta died tragically in
circumstances that still remain
mysterious today. The gallery is
presenting two works in Meridians, a
© The Estate of Ana Mendieta Collection, LLC Courtesy Galerie Lelong & Co. Licensed by Artists Rights Society (ARS), New York
photograph and a video produced
several years before her death, which
showcase certain aspects of her short
but prolific existence. The photo,
Sandwoman, is characteristic of her
production in the last ten years of her
life in which she endeavoured to
establish a dialogue between her body
and the natural landscape - to such an
extent that she described her work,
which was at the crossroads of land art
and body art, as “earth-body” art.
Mendieta ceaselessly inscribed the
shape of her body into the earth, or
buried it under sand, stones, long
grasses and water, as if striving to take
M
Ana Mendieta
possession of those places through uerta trágicamente y en condiciones miste-
Sandwoman,
which she herself and others before her riosas todavía hoy, Ana Mendieta tuvo una
1983 / 2018
had passed. Her body of work Black and white photograph vida corta pero prolífica. La galería muestra
represents an attempt to capture the 62 x 47 inches; algunos aspectos a través de dos obras: una fotografía y
Framed:
passage of humankind to which nature un vídeo en Meridians, realizadas unos años antes de su
63 x 48 x 2.25 inches;
bears witness. Edition of 6 with 3 APs muerte. Titulada Sandwoman, la fotografía es sintomática
de su práctica de los diez últimos años de su vida. Titu-
lada Sandwoman, esta fotografía es sintomática de los
diez últimos años de su vida, durante los cuales se es-
forzó en hacer dialogar su cuerpo y el paisaje hasta tal
punto que ella misma calificaba su obra como un cruce
entre Land Art y Body Art: "el Earth-Body". La artista no
dejó de enterrar su cuerpo en la arena o en los guijarros,
Biography
en las altas hierbas o bajo el agua, como tantas otras
tentativas de apoderarse de los lugares donde ella, y
1948 Born in Havana,
otros previamente, han transitado. Su obra es un intento
Cuba
1961 Arrives as a refugee de fijar el paso de los seres humanos, del cual la natura-
and studies at the leza es testigo.
University of Iowa
1972-1974 Realizes
her first performances
1985 Gets married to Carl
Andre and dies
/ 15Art Basel Miami Beach 2019
Photo Aurelien Mole/Richard Pettibone/Courtesy Galerie Mitterrand. .
Richard
Pettibone
Mitterrand (Paris) / SURVEY / Booth S3
By/Por François Salmeron
F
or its first participation at the fair, Galerie Richard Pettibone,
Mitterrand is giving pride of place to one of Roy Lichtenstein,
the pioneers of appropriation art, the Fastest Gun,
American artist Richard Pettibone. The ensemble 1963-1965, acrylic and
silkscreen on canvas,
of historic works on show, produced between 1964 unique, 5.91 x 8.27 inches.
and 1975, includes small-format silkscreens
(around ten centimetres square) that duplicate Richard Pettibone,
the famous Pop Art works of Andy Warhol and Andy Warhol, Flowers,
Roy Lichtenstein. Each is a unique edition 1964-1968, acrylic and
mounted on a stretcher fashioned by Pettibone silkscreen ink on canvas,
unique,
himself! However if the artist plays with the idea 6.30 x 6.30 inches.
Photo Aurelien Mole/Richard Pettibone/Courtesy Galerie Mitterrand. .
of ‘cloning’, his works also constitute an archive of
the art of his times in miniature. They can be seen
as “copies of copies”, which consecrate Warhol’s
kitsch wallpapers (Flowers, 1968) and cult canned
foods (Heinz Tomato Soup, 1966), as well as
Lichtenstein’s comic strip-inspired iconography
(Fastest Gun, 1965) and its tribute to mainstream
culture in the Sixties. Biography
P
1938 Born in Los Angeles
1962 Discovers Andy ara su primera participación en la feria, la galería
Warhol’s Soup Cans Mitterrand rinde homenaje a uno de los pioneros
at the Ferus Gallery,
Los Angeles del arte de apropiación, el americano Richard
1969 Solo exhibition Pettibone, con un conjunto de obras históricas realizadas
at Leo Castelli Gallery, entre 1964 y 1975. Las célebres piezas pop de Andy Wa-
New York rhol, primera fuente de inspiración del artista, y de Roy
2005 Retrospective
at the Contemporary Art Lichtenstein se encuentran duplicadas en serigrafías en
Institute, Philadelphia pequeño formato (una decena de centímetros por los
Lives and works in acrílicos ) editadas cada una en un ejemplar único, mon-
Charlotteville, New York tado sobre un marco confeccionado por Pettibone. Au-
nque el artista juegue con la idea de "clonaje" sus obras
Photo Aurelien Mole/Richard Pettibone/Courtesy Galerie Mitterrand. .
también constituyen un archivo en miniatura del arte de
su tiempo. También pueden entenderse como "copias
de copias, celebrando los papeles pintados kitsch
(Flowers, 1968) y las conservas culto (Heinz Tomato Soup,
Richard Pettibone,
1966) de Warhol, así como la iconografía de Lichtenstein
Heinz Tomato Soup,
(Fastest Gun, 1965) inspirada del cómic, rindiendo home-
1966, acrylic and silkscreen
ink on canvas, unique, naje a la cultura popular de los años 60.
4.33 x 5.12 inches.
16 /THE INTERNATIONAL ART FAIR
FOR PHOTOGRAPHY
2-5 ApRIL 2020
PIER 94
NEW YORKArt Basel Miami Beach 2019
Cinga Samson
Blank projects (Cape Town) / NOVA / Booth N3
By/Por Marine Vazzoler
L
as pinturas del autodidacta Cinga Samson
están ancladas en un contexto político e his-
tórico. Abordan diferentes temas: aquellos de
la masculinidad o de la negritud, pero también de las
prácticas espirituales de la Sudáfrica postcolonial.
Con ocasión de la feria, la galería expone diversos re-
tratos del artista – siendo él mismo generalmente su
propio modelo – donde hombres jóvenes con los ojos
vacíos posan en paisajes vegetales bastante genéri-
cos. En busto o de pie, estos retratos son frontales y
se columpian entre el aspecto tradicional de la técnica
y las pinceladas de Cinga Samson así como el look
contemporáneo que hay en él, confiriendo al todo una
impresión de anacronismo. La paleta oscura contras-
ta con la impresión de superficialidad que se des-
prendede las actitudes del joven y aporta una profun-
didad a los cuadros, de los cuales se extrae una
tensión entre el mundo interior y exterior.
blank projects
T
Cinga Samson,
Izilo Zomlambo 4,
he paintings of self-taught artist Cinga
2019, oil on canvas,
Samson are rooted in a political and 79,52 x 103,14 x 2,36 inches.
historical context and address different
themes such as masculinity, blackness and
spirituality in post-colonial South Africa. The
gallery is exhibiting several of the artist’s
portraits (often self-portraits) in which young
men with blank stares pose in front of generic
landscapes. In these half or full-length frontal
portraits, the traditional aspect of Cinga
Samson’s brushwork and technique creates a
decidedly anachronistic feel that is juxtaposed
with the very contemporary feel of his subjects.
Adding depth to the paintings, the dark palette
contrasts with the superficiality the young men’s
appearance and attitudes seem to convey and
reveals the tension that exists between the
artist’s inner and outer worlds.
Biography
1986 Born in Cape Town,
South Africa
2017 Wins the Tollman
Award
2019 Takes part in
the group show
“Mapping Black
Identities“ at Minneapolis
Institute of Art.
blank projects
Lives and works
in Cape Town, South Africa
Cinga Samson,
Unomeva 1,
2019, oil on canvas,
19,29 x 15,35 inches.
18 /Alexis Smith
Garth Greenan (New York) / MERIDIANS / Booth B20
By/Por Armelle Malvoisin
A H
natural heiress to the spirit of Dada and Biography eredera del espíritu Dada y Pop, Alexis Smith es
Pop Art, Alexis Smith is known for her 1949 Born in Los Angeles conocida por sus cuadros que combinan
paintings that combine images, objects 1970 Graduates imágenes, objetos y textos sacados de la
and text drawn from popular culture and inspired in painting from the cultura popular y del sueño americano. Realizada en
University of California,
by the American dream. Her monumental wall 1982, la obra monumental Fool’s Gold representa un pai-
Irvine
painting Fool’s Gold (1982) shows a sun scorched 1975 First solo exhibition saje desértico bajo un sol abrasador, con cactus y buitres
desert landscape with cactuses and buzzards at the Whitney Museum volando en círculos. Un buscador de oro atraviesa este
circling in the airs above. A gold prospector walks of American Art medio árido arrastrando su burro, sobre el que está sen-
2006 Participation in the
across this arid environment dragging a donkey tada en amazona una vaquera en escayola fijada al lienzo.
exhibition “Los Angeles
on which a plaster cowgirl (attached onto the 1955–1985: Birth of an Art Sobre un marco de madera pintado en trampantojo, se
canvas) rides side-saddle. A trompe-l’œil painted Capital“, Centre puede leer un comentario sobre la locura de los hombres
wooden frame contains a text that comments on Pompidou, Paris confrontados a un calor abrumador, sonando como el tí-
2021 Retrospective at the
man’s madness in the face of with such sweltering tulo de una novela rosa: “Sometimes men went crazy
Museum of Contemporary
heat. It sounds just like the title of a romance Art, San Diego from the heat” ¿Hace alusión la artista a esta figura feme-
novel:"Sometimes men went crazy from the heat." Is Lives and works in Los nina en tres dimensiones que aparece sobre el lienzo
the artist alluding to the three-dimensional Angeles como un espejismo o una alucinación erótica? La obra no
female figure that stands out against the canvas había sido mostrada desde su exposición en el Whitney
as if it were a mirage, or perhaps an erotic Museum en 1991.
hallucination? Fool’s Gold hasn’t been shown since
the artist’s 1991 exhibition at the Whitney
Museum of American Art.
Courtesy Alexis Smith and Garth Greenan Gallery.
Alexis Smith,
Fool’s Gold,
1982, mixed media
on painted wall,
132 x 264 inches.
/ 19Art Basel Miami Beach 2019
Tercerunquinto
Proyectos Monclova (Mexico) /
MERIDIANS / Booth M15
Courtesy Tercerunquinto and Proyectos Monclova.
By/Por Pedro Morais
T
his Mexican artist collective explores Tercerunquinto,
Paños (Archaeology
the urban environment, questioning
of Rage), 2017, polyptych of
the laws that define the limits of public 57 panels, spray paint on
and private space. Rather than contributing cotton, dimensions variable.
to the exponential accumulation of objects, they
prefer to focus on the structures that organise
society by means of simple, symbolical gestures,
such as laying a concrete slab or displacing
E
a section of roadside tarmac. The “Archaeology Biography ste colectivo mexicano explora el espacio urbano
of Rage”, the project they have chosen to show Collective formed by Julio explorando la frontera entre lo público y lo privado.
in Miami, is a polyptych comprising around fifty Castro (1976), Gabriel Introduciendo signos o gestos simples –
panels covered with the clothes that are worn Cazares (1978) and construcción de un pavimento de hormigón, desplaza-
Rolando Flores (1975)
by employees in charge of cleaning political miento de una porción de asfalto al arcén de una carre-
2012 Exhibition at
graffiti off the walls of Mexico City. The signs Matadero Madrid tera – prefieren focalizarse sobre estructuras que
of this expression of political protest have become 2019 Exhibition organizan la vida social, antes que participar en la acu-
abstract, however the message itself is preserved “Prince·sse·s des villes”, mulación exponencial de objetos. Para su proyecto pres-
Palais de Tokyo, Paris
in the titles of the works. The project aims to entado en Miami, "Arqueología de la Rabia", exponen un
Live and work in
record the memory of public anger expressed Monterrey and Mexico políptico de una cincuentena de paneles recubiertos de
in the graffiti, which is often done in such a hurry prendas empleadas por los servicios de limpieza de
that its message is illegible. Since 1988, grafitis políticos en Ciudad de México. Los signos de ex-
Tercerunquinto’s practice has been driven by presión de la disconformidad se vuelven así abstractos,
an institutional critique with architectural pero los mensajes quedan guardados a través de los títu-
interventions that endeavour to reveal los de las obras. El proyecto pretende grabar la memoria
the expression of authority in the mechanisms de una furia cívica presente en los grafitis, realizados en
governing the organisation of the public space. una urgencia que los vuelve a veces ilegibles. Desde
Tercerunquinto, 1988, su práctica se inscribe en una crítica institucional a
Paños (Archaeology
través de intervenciones arquitectónicas, con el fin de
of Rage), 2017, polyptych
of 57 panels, spray paint on revelar los mecanismos de la autoridad en la organiza-
cotton, dimensions variable. ción del espacio.
Courtesy Tercerunquinto and Proyectos Monclova.
20 /Photo Florian Kleinefenn/Courtesy Oscar Tuazon and Galerie Chantal Crousel.
Oscar Tuazon
Oscar Tuazon, Quonset Tent,
2016, aluminium, acrylic, wood, glass, 89,7 x 239,3 x 157,4 inches. Installation view,
Shelters, Galerie Chantal Crousel, Paris (2016).
Chantal Crousel / MERIDIANS / Booth M2
By/Por Magali Lesauvage
P L
arisian gallery Chantal Crousel presents a galería parisina presenta la pieza Quonset Tent
Quonset Tent (2016) by the American artist (2016). Evocando un invernadero, la estructura de
Oscar Tuazon. This aluminium and glass, 6 metros de largo por 4 de ancho y 2,3 de alto
greenhouse-like structure with wooden interior Biography está compuesta de aluminio, de acrílico, de madera y de
elements measures 6 metres by 4 and is 2.3 vidrio. Oscar Tuazon hace del refugio y de la relación
1975 Born in Seattle,
metres high. The central motifs of Oscar Tuazon’s Washington entre el cuerpo y la arquitectura los motivos centrales de
work are the theme of shelter and the 1995 Studies art su trabajo, mientras que los juegos de resistencia de los
relationship between the body and architecture, and architecture materiales alimentan su práctica. Quonset Tent recupera
at the Cooper Union for
whilst a further source of inspiration comes from la forma de los refugios elaborados por el ejército esta-
the Advancement
the notion of resistance between different of Science and Art dounidense durante la Segunda Guerra mundial, diseña-
materials. Quonset Tent mimics the shape of in New York dos a partir de la forma simple de un semicilindro y de
prefab huts made for the American army during 2007 After working at Vito módulos en serie. Estas construcciones fueron utilizadas
Acconci’s studio, settles
World War II, which were designed around a con fines diversos antes de ser recicladas, la mayoría de
in Paris where he
simple semi-cylindrical shape with mass- co-founds publishing las veces por piezas. La obra ha sido concebida, según
produced modules. These huts were used for a and exhibition space el artista, como "un sistema modular que sugiere dife-
variety of purposes before being recycled – more castillo/corrales. rentes escenarios e interpretaciones, un hábitat efímero
2016 Public commission
often than not as spare parts. According to the y un espacio temporal para dormir".
for People, Public Art
artist, this work was designed as “a modular Fund, Brooklyn Bridge
system that suggests different scenarios and Park, New York
interpretations, a ephemeral habitat and a 2017 Skulptur Projekte
Münster and Documenta
temporary place to sleep”.
14 in Athens
Lives and works in
Los Angeles
/ 21Art Basel Miami Beach 2019
Claude Viallat
Galerie Ceysson & Bénétière (Paris) /
MERIDIANS / Booth M17
By/Por Alison Moss
H E
e gained worldwide recognition for his s mundialmente reconocido por su aportación al
contribution to the French artistic colectivo francés Supports/Surfaces, junto con
movement Supports/Surfaces, along with Vincent Bioulès, Louis Cane, Daniel Dezeuze y
Vincent Bioulès, Louis Cane, Daniel Dezeuze and Patrick Saytour. Pero para Claude Viallat, el movimiento
Patrick Saytour. Yet, for Claude Viallat, the artístico representó mucho más que un periodo transito-
movement represented much more than a rio en su carrera. Esta obra, realizada en 2008, lleva una
transitory phase in his career. This work, Biography de sus marcas de fábrica : las “huellas” de colores que le
produced in 2008, still bears one of his 1936 Born in Nîmes, dieron a conocer en los años 1970. Desprovistas de pro-
trademarks: the colored «imprints» he became France fundidad y de centro, las obras de Viallat se focalizan en
1963 Graduates from
known for in the 1970s. By abolishing all sense of la materialidad de la pintura, su esencia más profunda.
École des Beaux-Arts
depth and center in his works, Viallat points to de Paris Su uso de soportes industriales (en este caso, una lona)
the materiality of painting, thus revealing its true 1969 Joins the Supports / apunta a otra temática recurrente en su trabajo: la desa-
essence. His use of industrial supports (in this Surfaces movement cralización de la pintura, que el artista trata de anclar a la
1997 Solo exhibition at
case, tarp) alludes to another recurring theme in vida misma.
the Carré d’Art museum
his work: the desacralization of painting, which (Nîmes)
the artist wishes to anchor in life itself. Lives and works in Nîmes
Photo Aurélien Mole/Couresty Galerie Ceysson et Bénétière.
Claude Viallat, 2009/371, 2009, acrylic
on linen fabric, 286,2 x 2343 inches.
22 /Let us do the
research.
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