Ma­jor Art Pa­tron

Harper's Bazaar Art (Indonesia) - - The News -

The 47th edi­tion of the world’s most im­por­tant and pres­ti­gious art fair, Art Basel 2016, dis­played the work of 4,000 artists from all over the world with an es­ti­mated value of $3,4 bil­lion rep­re­sented by 287 gal­leries from 33 coun­tries. The ex­hi­bi­tion con­cerned on mi­gra­tion cri­sis, po­lit­i­cal tur­moil, iden­tity, en­vi­ron­ment and anx­i­ety through con­crete form of arts in seven sec­tors, which were Un­lim­ited, Edi­tion, Fea­ture, Mag­a­zines, State­ment, Par­cour, Film and Gallery. On the open­ing day, the rain didn’t re­ally dis­cour­age VVIP guests who pa­tiently queued for the pre­view of Art Basel on the 13th and 14th of June. First to open on Mon­day (by in­vi­ta­tion) was the Un­lim­ited sec­tor where New York based Gianni Jet­zer, cu­rated 88 mas­sive in­stal­la­tions, sculp­tures, videos and art­works. This was an ab­so­lute must see sec­tor fea­tur­ing the top artists which in­cluded Ai Wei­wei, Tracey Emin, Anish Kapoor, Frank Stella, El Anat­sui, James Tur­rell and Ding Yi.

Next was the Fea­ture sec­tor, which hosted 32 gal­leries fea­tur­ing pre­cisely cu­rated projects of solo pre­sen­ta­tion by in­di­vid­ual artists, jux­ta­po­si­tions of two artists and the­matic ex­hibits. Among the eight new­com­ers, young gallery Wald­burger Wouters fea­tured the Roberta Bre­it­more Se­ries by Lynn Her­sh­man Leeson. This pho­tog­ra­phy se­ries was a re­sult of 40 years of com­plex in­ves­ti­ga­tion on the ques­tion of gen­der, iden­tity pol­i­tics and self­hood through the cre­ation of a fic­tional per­sona, al­ter ego Roberta Bre­it­more. Although fic­tional, the ac­tual ex­is­tence of Roberta Bre­it­more could be proven through phys­i­cal ev­i­dence like her driv­ing li­cense, credit card or let­ters from her psy­chi­a­trist.

Fur­ther­more, 18 new solo projects by young emerg­ing artists were fea­tured at the State­ments sec­tor. Each year two out­stand­ing artists in this sec­tor are awarded the Baloise Art Prize. This year the prizes were awarded to Cana­dian artist Sara Cwyrnar and Amer­i­can Mary Reid Kel­ley. In ad­di­tion to the CHF 30.000, the prize in­cludes an ac­qui­si­tion of a group of works by the award win­ners by Baloise which will be do­nated to Mu­seum für Moderne Kunst, Frank­furt a.m and the MUDAM, Lux­em­bourg.

Art Basel is a must visit event for se­ri­ous col­lec­tors of con­tem­po­rary art, where art is cel­e­brated in a special

way through var­i­ous dis­ci­plines.

At the Col­lec­tors Lounge, global as­so­ci­ate part­ner of Art Basel, Aude­mars Pi­quet fea­tured the pho­tog­ra­phy se­ries of Val­lée de Joux by Dan Holdsworth. On the other side of the lounge, David­off, an­other global as­so­ci­ate part­ner of the fair show­cased their lim­ited edi­tion cigars in boxes with im­ages cap­tured from the video work of Mathilde Rosier, who par­tic­i­pated as a David­off Art Ini­tia­tive Artist-in Res­i­dence at the Al­tos De Chavon School of Art and De­sign in the Do­mini­can Repub­lic in 2015.

Ac­cord­ing to Te­faf Art Mar­ket Report, art fairs ac­counted for about 40% of gallery sales by value. Some of the 220 gal­leries were mak­ing six to seven dig­its sales dur­ing Art Basel. To name a few were the sale of Brice Mar­den's First Win­dow Paint­ing (1981), a sculp­ture with painted and chromium plated steel sold by New York's Mnuchin Gallery, and works of Robert In­di­ana, Yves Klein, Kurt Sch­wit­ters and Joan Miro sold by Gmurzyn­ska gallery. And for the high­light, a large work of Ger­hard Richter was sold at eight dig­its fig­ure. Even af­ter five full days of go­ing through the 4,000 art­works, it was not easy to se­lect the main fea­ture. One thing is sure, the qual­ity was sub­lime and it was vis­ually sat­is­fy­ing.

Clock­wise (from above): The Col­lec­tor’s House by hans op de beeck; Femme aux mains croisees II by pi­casso; an art­work by al­lan Mccol­lum pre­sented by­ga­lerie thomas schulte.

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