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11 June 2007 | Presentations at the Basel Fairs June 2007 |
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 Galerie Stefan
Röpke, Köln One-person-show with works by Canadian artist Edward Burtynsky Scope Basel June 12 - 17, 2007 Booth #9 Edward Burtynsky's large scale colour photographs document the many facets of nature as they are transformed by human industry. Industrial processes are presented as highly expressive visions where beauty is found in the most unlikely of places. The images by Burtynsky (born 1955 in St. Catharines, Ontario) are metaphors of the dilemma of our modern existence. We are drawn by the desire for prosperity and a good comfortable life, yet we all know that the world suffers to meet those demands. Our dependence on nature to provide us with the materials for our consumption, in contrast to our concern for the health of our planet, sets us into the uneasy contradiction that feeds the dialogue in Burtynsky's images between attraction and repulsion, seduction and fear. This contradiction is absolutely intended, as the artist insists that he is not celebrating nor condemning anything; neither industrialization nor the impact of civilization on the environment. Edward Burtynsky shows exceptional talent with his constant attention to composition and light, always presenting images with a painter's eye for colour and a sculptor's feel of form. His photographs are included in the collections of 15 major museums around the world, including the Museum of Modern Art and the Guggenheim Museum in New York, the National Gallery of Canada, and the Biblioteque National in Paris. Edward Burtynsky is established as one of Canada's most respected contemporary photographers. In June 2006, he was appointed to the Order of Canada, Canada's highest civilian honour, recognizing lifetime achievement. Image: Edward Burtynsky Old Factories #1, Fushun Aluminium Smelter, Fushun City, Liaoning Province, China, 2005 C-Print 99,06 x 124,46 cm / 39 x 49 inches edition of 9 Courtesy: Galerie Stefan Röpke, Köln Read on... Galerie Stefan Röpke, Köln |
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 UNION,
London Rory Macbeth Outdoor /Sculpture Projects VOLTAshow03 June 11 - 16, 2007 "The only thing that can redeem mankind now is co- operation." Bertrand Russell. Rory Macbeths work can be seen to relate to utopian ideas in their broadest sense, rather than to literal representations of utopia. One body of work seen in 'Co-operative Society', based around the process of 'customising' found objects-specifically a series of burnt-out cars and bikes - illustrates such ideas most readily. Macbeths interests converge in the relationship between ideals and the reality that they try, or claim to represent, and the divergences between ideals and their realization. Macbeths diverse work establishes a gap between the purity and clarity of ideas and intentions, and the messy contingencies, contradictions, and conflicts of the social realm. By actively engaging with the real as well as the ideal in the same work, Macbeth reveals their ongoing incompatability, the constant fight between the ideal and the real, between the mind and the body, between language and stuff. He exploits the comedy and tragedy that ensues when ideals are applied to help a problem rooted in reality, or when reality shatters the illusion of the ideal, by trivializing the lofty, and making the joke a tragedy. Our process of interpretation is "a constantly frustrated loop which can never attain a point of conclusion". Such a phrase might well describe each aspect of his diverse, unpredictable body of work. Born 1965 in Scotland, UK Lives and works in London, UK Recent solo exhibitions include: 'OKtopia' VTO Gallery, London (2004), 'Thank You' The Economist Plaza, London (2003), 'einzweiBriannien' nylon gallery (2002). Recent group exhibitions in 2006 include 'Rock Ridge', The Embassy, Edinburgh, 'Everything Must Go', VTO Gallery, London, 'Itchy Park 3/ Liquid Economics' Limehouse Town Hall, London, 'Ego-mania' Galleria Civica de Modena, Modena, Italy, 'Bad Moon Rising' K3 Gallery, Zurich, 'Bang your head' with Paul Harper, Villa am Aabach, Uster, Switzerland, 'The Difference is Why' Laden fur Nichts, Leipzig. Image: Rory Macbeth Thought Bubble (Nitzsche's Mum), fibreglass and cellulose paint 210 x 190 x 50 cm 2004 Courtesy of UNION, London Read on...UNION, London |
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 Galería Espacio
Mínimo, Madrid Isaac Montoya and Manu Muniategiandikoetxea Outdoor /Sculpture Projects VOLTAshow03 June 11 - 16, 2007 ISAAC MONTOYA presents the Project Naked I Feel More, the latest work by Sonia La Mur (www.sonialamur.com) in which this bombshell, using the language and means of the advertising world, gives us her newest and most exciting photographs, as well as the most shocking declarations about her innermost feelings. ISAAC MONTOYA (Burgos 1963) graduated in Fine Art at Universidad Complutense de Madrid, has recently held a solo show at CAB in Burgos and La Casa Encendida in Madrid and in 2003 did so at Fundación Pilar i Joan Miró in Palma de Mallorca. He has shown various times at ARCO in Madrid as well as in other important contemporary art fairs Duch as FRIEZE ART FAIR in London, CIGE in Beijing or ARTISSIMA in Turín. Ikusten Zaitut (Entrada/Entrance) is the title of MANU MUNIATEGIANDIKOETXEA's , work, a 300 x 300 x 300 cms sculpture that becomes a natural prolongation of his pictorial works and which has itself become subject matter for various of his paintings MANU MUNIATEGIANDIKOETXEA (Bergara 1966) es graduated in Fine Art at Universidad del País Vasco specializing in Painting and Sculpture. He created the show Ni ez nain hemengoa at Sala Rekalde in Bilbao, which was curated by Chus Martínez He has taken part in important international art fairs such as ARCO, FRIEZE ART FAIR or ART BASEL MIAMI BEACH where he presented a solo project included in the "Art Positions" section. He has obtained, amongst others, the Endesa scholarship 2001, the Altadis Prize, and first place at the Generación 2000 awards. His works are included in Colección Unión Fenosa in La Coruña, Museo de Bellas Artes in Álava, Colección Banco de España, Colección L'Oreal, Fundación Coca-Cola España and the town council collections of Pamplona and Vitoria. Image: Manu Muniategiandikoetxea Ikusten Zaitut (Entrada/Entrance) 300 x 300 x 300 cms Courtesy of Galería Espacio Mínimo, Madrid Read on...Galería Espacio Mínimo |
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 Galerie Ernst
Hilger, Vienna Angel Marcos Mimmo Rotella Jacques Monory John Gerrard Anastasia Khoroshilova Art | 38 | Basel 13 - 17 June 2007 Booth A2 Mimmo Rotella's works show his extraordinary creativity and openness to any new experience. As he was first confronted with the top rank of Pop Art at the Venice Biennale in 1964, he had nothing to fear for simultaneous presence which, to the contrary, only accented to his intuitive originality and good timing directed, as it was, toward that sphere of advertising - as the mirror of a society and time-, publicity and mass communications which the Pop artists had chosen as one of their preferred arenas for projecting their work into the consumer reality. The way of composition of Advertising communicates through posters, from the use of lettering to the kind of page layout, from the iconographic stereotypes to the choice of colors. Image: Mimmo Rotella Virtual, 1999 Decollages/canvas 270 x 195 cm Courtesy of Galerie Ernst Hilger, Vienna Read on... Galerie Ernst Hilger, Vienna |
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 Galerie Kamm,
Berlin Guillaume Leblon Art | 38 | Basel 13 - 17 June 2007 ART UNLIMITED 1.0 / D1 in cooperation with Gallery Jocelyn Wolff Guillaume Leblon's work is focused on the connection between inside and outside, surface and volume, and form and content. In the confrontation with form and its meaning, Guillaume Leblon mostly draws on abstraction, thus preventing simple classification. His objects and installations are paradoxical reconstructions from life and art. The installation Raum consists of plaster blocks creating an enclosed space whose surface is covered in cracks and breaks. The work itself is only visible from outside, and cannot be entered by the viewer - it is a body and its materiality, which becomes an obstruction that doesn't open. Raum plays with the impossible simultaneity of deconstruction and construction. A space, arisen from ruins and marked by time, dilapidation and reconstruction, tells us of existence, memory and of the ways in which both are captured. Image: Guillaume Leblon RAUM, 2006 plasterblocks, 275 x 600 x 800 cm installation view Kunstverein für Rheinlande und Westfalen, Düsseldorf (photo: Achim Kukulies) Courtesy of Galerie Kamm, Berlin Read on... Galerie Kamm, Berlin |
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 Milliken,
Stockholm Mattias Nordéus Born 1979 in Malmö, Sweden Nordic Focus VOLTAshow03 June 11 - 16, 2007 In 1839, William Henry Fox Talbot coined the expression "the art of fixing a shadow" to describe his invention, the negative-positive photographic process. At the same time as the excitement about the new process spread, the painter Paul Delaroche is said to have exclaimed, "From this day painting is dead". But as it turned out, painting has hade a long career after that, including a notable period of realism. Painters soon realised that photography would not replace painting, but that it could rather serve as a useful tool. For more than a century, photography has been present in our everyday life and has perhaps been the most powerful visual medium during the 20th century. Realism is a matter that has been in focus during the whole history of photography, and the idea that the camera doesn't lie is a notion that has survived for a surprisingly long time. "We tend to think the information a photographer provides is true. Just as you can make a drawing of somebody and then the friends of the person say 'It´s not like him', you can take a photograph and you can eventually say 'You know, it´s not like him, he doesn´t look like that'. So the information is not always true. We´ve tended to believe that the camera cannot lie and I think it probably can lie just as much as a painting." David Hockney, David Hockney by David Hockney: My Early Years, Thames and Hudson Not until the last few decades, the doubtful value of photography as proof has become firmly established in our consciousness. Nowadays we can manipulate pictures in our own personal computers, something that has probably been of great importance to the change in our level of trust in the authenticity of photography and our relationship with representations of "reality". I often build my paintings in a similar way, by using pictures from various sources and contexts, e.g. randomly found on the Internet, in films, video games, private and personal photos etc., in order to create a new picture. A picture that I am in charge of and that I am completely responsible for. Painting has an elasticity to it and offers a possibility to refer to other media. But unlike working with collage or digital picture management, it is impossible to paint exactly as you have planned. There is always a recurring element of chance, or that you simply don't succeed in capturing what you had intended. A painting creates a whole that I think a collage cannot accomplish. To me, the process of painting is very important in itself. The feeling of creating a completely new picture by hand on an empty surface, and the fact that you only need a handful of colours to be able to mix any new colour at all, is still fascinating to me. Text by: Mattias Nordéus Image: Mattias Nordéus Caroline, 2005 40 x 43 x 37 cm Oil on wood sculpture Courtesy of Milliken, Stockholm Read on...Milliken, Stockholm |
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 stuArt gallery,
Santiago, Chile Tito Calderon, Cesar Gabler & Claudio Herrera Scope Basel 07 June 12 - 17, 2007 Booth 47a StuArt Gallery is a project dedicated to contemporary art whose curatorial policy is grounded in a lucid and sophisticated vision, with special attention to graphics, drawing and painting. Our artists belong to those trends exploring new forms of figuration and abstraction to question the conditions of today's society. Artists who naturally use languages arising from high culture as well as the audiovisual industry. Our goal is to present an art in which plastic refinement does not take precedence over theorical reflection on the XXI century art. The gallery shows its evolution since its entry into the international scene participating in art fairs in both the U.S. and Europe. Claudio Herrera presents a series of mixed- media works under the name of Debord plays Piano. In this series of works dating from the recent years (2006-2007), Herrera conveys critical endangered landscapes which seem to tell us about cities and territories at the collapse of their symbolic modern qualities. Added to the aforementioned, drawings in large formats referring to utopian landscapes although politically anomalous prevail alike the paintings. Multiple accounts of the contemporary individual can be inferred from these. Figuration and abstraction, Letrism and a somewhat Situacionist spirit continue to prevail in the works of the artist. Cesar Gabler uses a figurative language influenced by abstract elements. The collection of works is governed by an imagery in which categories of time space and scale are altered generating small stories where absurdity and mystery prevail over any narrative or discursive logic. Referring to the languages of comics and illustration, Gabler depicts in his work an approximation to the role of the individual in contemporary society and particularly the marks that modernity has left in the perception of what affects us most: death, sex and power. Hector Calderon has become a referent to the Chilean underground (art scene).His work draws on imagery inhabited by sophistication, outcast, and eroticism. The thoroughness of his pencil on the canvas seems to claim drawing to fame emulating the grounds and formats of the old paintings of salons. Structured as pieces of bourgeois art, his works follow faithfully the conventions of portrait groups. However neither the technique nor the characters obey to the standards of that model, on the contrary, to the proximity and familiarity which traditionally accompany this creations he proposes irony and a feeling of deep unconnection. Image: Tito Calderon Cabeza de Piedra grafito sobre tela 80x100 cm 2006. Courtesy of stuArt gallery, Santiago, Chile Read on...stuArt gallery, Santiago, Chile |
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 Basel
Locations Art 38 Basel www.artbasel.com Hall 1 and 2 Messe Basel Tram 1/2/6/14/15: Messeplatz 6/13-17 (vernissage 6/12) 290 Exhibitors bâlelatina www.balelatina.com Brasilea Foundation Westquaistrasse 39 Tram 8: Kleinhüningen 6/13-17 (reception 6/11-12) 40 Exhibitors Design Miami/ Basel www.designmiami.com Markthalle Viaduktstrasse 10 Tram 1/2/8/16: Markthalle 6/12-16 (vernissage 6/11) 20 Exhibitors LISTE 07 www.liste.ch Warteck pp Burgweg 15 Tram 1/2/15: Wettsteinplatz 6/12-17 (reception 6/11) 62 Exhibitors PrintBasel www.printbasel.ch Volkshaus Basel Rebgasse 12 Tram 6/8/14/15: Claraplatz 6/11-17 (opening 6/10) 18 Exhibitors SCOPE Basel www.scope-art.com E-Halle Erlenstrasse 15 Tram 14: Musical Theatre 6/13-17 (reception 6/12) 50 Exhibitors VOLTAshow03 www.voltashow.com ULTRA BRAG Südquaistrasse 55 Tram 8: Kleinhüningen 6/12-16 (reception 6/11) 67 Exhibitors Map Courtesy of Cottleston Advisors |
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