Art Basel 2019: Unilimited sector

Art Basel 2019: Unilimited sector

LUCIO FONTANA

Magazzino, Galleria Tega

© Art Basel

Unlimited, Art Basel's unique platform for large-scale projects, provides galleries with the opportunity to showcase towering installations, monumental sculptures, vast wall paintings, extensive photographic series, video projections, and performance art that transcend the traditional art fair stand.

Several presentations from this year's exhibition address and comment on political upheavals and sociopolitical tensions, lending them a lasting presence. ‘Bataille’ (2017) by Rivane Neuenschwander is a partial freestanding interactive installation that explores the power of words taken from protest banners and placards in France. For ‘RYTHM MASTR Daily Strip’ (2018), Kerry James Marshall created comics featuring African-American superheroes. Alicia Framis' ‘LifeDress’ (2018) consists of a clothing line made of airbag materials designed to protect women from harassment. Andrea Bowers' installation ‘Open Secret’ (2018) documents the development of #MeToo and Time’s Up, international movements against sexual harassment and assault, which spread virally following the sexual misconduct allegations against Harvey Weinstein in 2017.

JONATHAS DE ANDRADE

Galleria Continua

© Art Basel

ANTONY GORMLEY
Galleria Continua
© Art Basel

The sector also once again brings in younger voices from diverse regions. Canadian artist Kapwani Kiwanga, whose family has Tanzanian origins, and Angolan-born Kiluanji Kia Henda both explore Africa’s colonial history in their presentations. Indonesian artist Fiona Tan presents 'Elsewhere' (2018), a new filmic meditation on urban dystopia, while Korean artist Do Ho Suh invites visitors to life-size textile version of his former home with 'Hub, 260-7 Sungbook-Dong, Sungbook-Ku, Seoul, Korea' (2017). Two artists incorporate Virtual Reality into their works: German artist Lawrence Lek's newly recast 'Nøtel' (2016-2019), an installation built around fictional luxury hotels, is accessible via VR headsets and game controllers, and African-American artist Jacolby Satterwhite, who was featured in Statements last year as an emerging artist, continues the evolution of his singular aesthetic built in VR.

Among the many historical works present, Austrian artist VALIE EXPORT’s 1983 video 'Syntagma' explores female identity in relation to body image, while Hélio Oiticica, the seminal artist of Brazilian Tropicalismo, returns to Basel with the installation 'Penetrável Filtro' (1972). Octogenarian American painter Joan Semmel will bring to Basel her newest and largest canvas, which explores the body as landscape.

ANDREA BOWERS

kaufmann repetto, Andrew Kreps Gallery, Susanne Vielmetter Los Angeles Projects

© Art Basel

JORGE PARDO

neugerriemschneider

© Art Basel

Full list of artists presented in Unlimited:

Andreas Angelidakis, The Breeder
Larry Bell, Hauser & Wirth
Guy Ben Ner, Sommer Contemporary Art
Sadie Benning, Susanne Vielmetter Los Angeles Projects
Huma Bhabha, Salon 94
Camille Blatrix, Balice Hertling, Andrew Kreps Gallery
Anna and Bernhard Blume, Buchmann Galerie, Peter Freeman, Inc.
Monica Bonvicini, Galleria Raffaella Cortese, Galerie Peter Kilchmann, Mitchell-Innes & Nash
Andrea Bowers, kaufmann repetto, Andrew Kreps Gallery, Susanne Vielmetter Los Angeles Projects
Marc Brandenburg, Galerie Thaddaeus Ropac
Mircea Cantor, Magazzino
Valentin Carron, kamel mennour, Galerie Eva Presenhuber,
Vajiko Chachkhiani, Daniel Marzona
Chen Chieh-jen, Long March Space
Edgar Cleijne and Ellen Gallagher, Gagosian
Bruce Conner, Paula Cooper Gallery, Kohn Gallery
Jonathas de Andrade, Galleria Continua
Lucy Dodd, David Lewis Gallery, Sprüth Magers
François Dufrêne, Galerie Georges-Philippe & Nathalie Vallois
VALIE EXPORT, Galerie Thaddaeus Ropac
Belu-Simion Fainaru, Galeria Plan B
Sam Falls, 303 Gallery, Galleria Franco Noero, Galerie Eva Presenhuber
Lucio Fontana, Magazzino, Galleria Tega
Alicia Framis, Galería Juana de Aizpuru

ALICIA FRAMIS

Galería Juana de Aizpuru

© Art Basel

Coco Fusco, Alexander Gray Associates

Abdulnasser Gharem, Galerie Nagel Draxler
Felix Gonzalez-Torres, David Zwirner
Antony Gormley, Galleria Continua
Laurent Grasso, Sean Kelly, Perrotin
Duane Hanson, Gagosian
Kiluanji Kia Henda, Goodman Gallery
Carsten Höller, Galleria Continua
Suki Seokyeong Kang, Kukje Gallery / Tina Kim Gallery
Kapwani Kiwanga, Goodman Gallery

KAPWANI KIWANGA

Goodman Gallery

© Art Basel

Daniel Knorr, Meyer Riegger, Galerie nächst St. Stephan Rosemarie Schwarzwälder
Jannis Kounellis, Galerie Karsten Greve
Kaarel Kurismaa, Temnikova & Kasela
John Latham, Lisson Gallery
Lawrence Lek, Sadie Coles HQ
Jochen Lempert, ProjecteSD
Zoe Leonard, Galerie Gisela Capitain, Galleria Raffaella Cortese, Hauser & Wirth
Liliane Lijn, Rodeo
Renata Lucas, A Gentil Carioca, neugerriemschneider, Galeria Luisa Strina
Sarah Lucas, Sadie Coles HQ
Ari Marcopoulos,Galerie frank elbaz, Fergus McCaffrey
Kerry James Marshall, Jack Shainman Gallery, David Zwirner
Anthony McCall, Sean Kelly, Sprüth Magers, Galerie Thomas Zander
Paul McCarthy, Hauser & Wirth, Xavier Hufkens
Fausto Melotti, Hauser & Wirth
Senga Nengudi, Lévy Gorvy, Sprüth Magers
Rivane Neuenschwander, Stephen Friedman Gallery
Olaf Nicolai, Galerie Eigen + Art

OLAF NICOLAI

Galerie Eigen + Art

© Art Basel

STEVEN PARRINO

Gagosian

© Art Basel

UGO RONDINONE

Gladstone Gallery, Galerie Eva Presenhuber

© Art Basel

Hélio Oiticica, Galerie Lelong & Co.
Jorge Pardo, neugerriemschneider
Steven Parrino, Gagosian
Giuseppe Penone, Gagosian
Vaclav Pozarek, Galerie Francesca Pia, Barbara Wien
Bunny Rogers, Société
Ugo Rondinone, Gladstone Gallery, Galerie Eva Presenhuber
Mika Rottenberg, Hauser & Wirth
Jacolby Satterwhite, Mitchell-Innes & Nash
Joan Semmel, Alexander Gray Associates
Do Ho Suh, Lehmann Maupin, Victoria Miro
Fiona Tan, Peter Freeman, Inc., Frith Street Gallery
Blair Thurman, Peres Projects
Thu Van Tran, Galerie Rüdiger Schöttle
Francisco Tropa, Gregor Podnar, Galerie Jocelyn Wolff
Brent Wadden, Peres Projects
Tom Wesselmann, Gagosian
Franz West, Hauser & Wirth, David Zwirner
Pae White, neugerriemschneider
Martha Wilson, mfc - michèle didier, P.P.O.W
Sislej Xhafa, Galleria Continua
XU ZHEN®, Perrotin
Akram Zaatari, Thomas Dane Gallery, Sfeir-Semler Gallery,

A limited-edition catalog, published by Hatje Cantz, accompanies Unlimited, including descriptive texts and images of each artwork. The catalog is for sale at the show as well as in bookshops for CHF 60.

ART BASEL
www.artbasel.com

Jorge Pardo @ Victoria Miro Gallery, London

Jorge Pardo
Victoria Miro Gallery, London
2 February - 24 March 2018

JORGE PARDO 

Untitled, 2017

3 mm coloured PETG, aluminium and steel fixtures, various dimensions

© Jorge Pardo, courtesy the artist and Victoria Miro, London/Venice

Victoria Miro presents an exhibition comprising paintings and an installation of lamps by the Mexico based Cuban-American artist JORGE PARDO.

Celebrated for his use of vibrant colours, eclectic patterns and natural and industrial materials, Jorge Pardo, a MacArthur Fellow, has since the 1990s drawn on the historical intersections of fine art, architecture and design to create a highly individual body of work. Characterised by its fluidity between genres, his diverse output ranges from paintings, sculptures and murals to furniture and even entire buildings. Pardo’s focus on multiple meanings, purposes and contexts invites constant re-evaluation of objects, images and architectural space.

The exhibition features suspended and freestanding lamps, ranging in scale from one to 1.7 metres tall, distributed at varying distances from one another throughout the first-floor gallery. Distinguishable by a number of components and forms – including sinuous lines of laser-cut PETG plastic resin that surround a central light fitting, and lengths of the same material, sometimes perforated with rectangular or triangular motifs, that hang in fringed formations – Pardo’s lampsoffer an extended consideration of physicality and immateriality, the visible and invisible. While the lamps themselves possess sculptural form as objects, sometimes recalling natural phenomena such as animal and plant life, the light they emit, variously controlled and directed, is less tangible. This is experienced in the spaces between each work and the surrounding architecture – an irregular play of light and shadow which itself might be altered by viewer’s movements through the space.

In addition, new paintings, ranging from two metres to almost five metres in height, are installed in the ground floor gallery and in the atrium space that connects the gallery floors. While they are called paintings, these wall-mounted works are composed of layers of laser-cut birch wood ply and MDF, milled, perforated and painted so that evocations – of colour, form and image – seem to shift and dissolve as the viewer moves in front of them. Ostensibly completed in single colours – red, orange, yellow and blue – up close the works reveal tesserae-like surfaces of complementary and tertiary hues. These interact with the routed circular and linear motifs, topographical in appearance, of the layers underneath to create moiré-like patterns of interference, through which suggestions of landscape and weather are revealed. The forms of the paintings themselves recall folding screens installed on their sides and bolted to the wall (and thus robbed of their function), though the impression of the hinged panels projecting into space is another illusion. Rather than concertina into space, the works are resolutely flat.

Poised between the organic and the manmade, the practical and the poetic, Jorge Pardo’s art playfully insists that form needn’t necessarily follow function (or vice versa) instead suggesting multiple and mutating definitions and applications that toy with our expectations. Together, the works in the exhibition expand upon the artist’s ongoing exploration into questions of composition, classification of genres and categories of production and display.

JORGE PARDO

Born in Havana, Cuba, in 1963, Jorge Pardo relocated to Chicago, USA, with his family as a child. He studied at the University of Illinois, Chicago and received his BFA from Art Center College of Design in Pasadena, California. Pardo’s work has been the subject of numerous solo exhibitions at international institutional venues including Irish Museum of Modern Art, Dublin (2010); K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2009); Los Angeles County Museum of Art (2008); and Museum of Contemporary Art, North Miami (2007). He has been included in numerous significant group exhibitions including Display – between art and arts & crafts, Applied Arts Pavilion, the 57th Biennale di Venezia (2017); Okoyama Art Summit (2016), Viehof Collection: International Contemporary Art, Deichtorhallen, Hamburg (2016); You’ve Got to Know the Rules … to Break Them, de la Cruz Collection, Miami (2015); Beyond the Supersquare, The Bronx Museum of Arts, New York, US (2014); KölnSkulptur #7, Skulpturenpark Köln, Cologne (2013); Print/Out, MoMA Museum of Modern Art, New York (2012); Art of Communication: Anri Sala, Yang Ah Ham, Philippe Parreno, Jorge Pardo, National Museum of Art, Deoksugung (2011); The Jewel Thief, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, (2010); theanyspacewhatever, Solomon R. Guggenheim Museum, New York (2008); Index. Conceptualism in California from the Permanent Collection, The Geffen Contemporary, Museum of Contemporary Art, Los Angeles (2008); Birth of the Cool. California Art, Design, and Culture at Midcentury, Orange County Museum of Art, Newport Beach, US and tour (2007); Works from the Tate Collection, Tate Modern, London (2006). In 1996, along with artists including Carsten Höller, Pierre Huyghe and Rirkrit Tiravanija, Jorge Pardo was featured in Nicolas Bourriaud’s exhibition Traffic at CAPC Musée d’Art Contemporain de Bordeaux, in the catalogue for which Bourriaud coined the term ‘Relational Aesthetics’.

Permanent works and public projects include Streetcar Stop for Portland, Regional Arts and Culture Council, Portland (2014); Plat 99, Bar and Lounge designed for The Alexander Hotel, Indianapolis, (2013); Tecoh, private residence, Yucatán (2012); Untitled (reinstallation of the Latin American Galleries), LACMA Los Angeles County Museum of Art, Los Angeles, US (2008); Untitled (Guadalajara Light Piece), Solares Foundation, Guadalajara (2005); House for Cesar and Mimi Reyes, Old San Juan (2004); Project, a reimagining of the lobby and new bookshop for Dia Art Foundation Chelsea, New York, US (2000); 4166 Sea View Lane, a proposal as part of an exhibition for LA MoCA to build an artist’s house on a hillside in Mount Washington, Los Angeles, for which Jorge Pardo designed every element of the building (completed 1998). 

Jorge Pardo’s work is part of numerous public collections including the Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; and Tate, UK. He has been the recipient of many awards including the MacArthur Fellowship Award (2010); the Smithsonian American Art Museum Lucelia Artist Award (2001); the Louis Comfort Tiffany Foundation Award (1995).

Jorge Pardo lives and works in Mérida, Mexico.

Victoria Miro 
16 Wharf Road, London N1 7RW
www.victoria-miro.com

Jorge Pardo: Self Portraits @ Petzel Gallery, New York

Jorge Pardo: Self Portraits
Petzel Gallery, New York
Through January 13, 2018

Petzel Gallery presents a solo exhibition by artist, sculptor, architect, and all-around polymathic “Genius” (2010 MacArthur Fellowship recipient), JORGE PARDO. This is his ninth exhibition with the gallery and first painting show—but don’t expect oil on canvas.

Candid snapshots of Jorge Pardo in workaday situations—man-spreading in a chair, strolling down the street, posing in Brazilian swim trunks—taken by friends, family, studio assistants, as well as up-close-and-personal Selfies, are the foundation for these 15 new paintings. And then the metamorphosis begins, simultaneously upending what defines a painting and a self portrait. Amalgamating craftsmanship and computerized manipulation with a range of media, Pardo creates an intricate, hybridized fusion of painting and sculpture.

The images are bastardized—blown-up, engraved, laser-cut, hand-painted and back-lit with LEDs, to produce, in some cases, vast ornamental objects. Tiers of milled, perforated wood and Plexiglas overlap and interact on a relief which dissipates and parodies both self and portrait. Transparency, light, and color add further layers of complexity to these works—when illuminated the shapes, patterns and subjects within the paintings alter. A larger transformation occurs when the works are hung from the ceiling; the paintings morph into seemingly weightless light-boxes.

Jorge Pardo’s self portraits—sourced from prosaic material, refined and abstracted by his practice—expand the artist’s exploration into questions of composition, forms of display and classification within this traditional genre. The paintings in Self Portraits double as sculptures, triple as ornaments, quadruple as lamps—forcing a reexamination of the everyday object.

PETZEL GALLERY
456 W 18th Street, New York, NY 10011
www.petzel.com