Basel - News

Art Basel Announced the Gallery List for its 48th Edition

2 hours ago

On Wednesday 15th February 2017, Art Basel announced the list of 291 galleries from 34 countries and six continents that will participate to the upcoming 48th edition of the fair.

Taking place from June 15 to June 18, 2017, this year the fair will see the participation of 17 new galleries, including three exhibitors from the Asia Pacific region – Antenna Space, Hopkinson Mossman and Magician Space – and one from Africa, Cairo’s Gypsum Gallery.

Among the highlights from the sector Statements include a project by Guan Xiao – represented by Antenna Space and titled “Air Freshener, Spray”; Kate MacGarry will showcase a multimedia presentation of ‘psychogeographic’ films by Malawi-born Samson Kambalu (b. 1975), inspired by the folklore from the American West and early cinema prototypes; Chapter NY will unveil an orchestra-inspired ensemble of clay figure sculptures by Sam Anderson (b. 1982).

For the second consecutive year Samuel Leuenberger (founder of SALTS in Birsfelden, Switzerland) will curate the section Parcours, a series of site-specific sculptures, interventions and performances by renowned international artists and emerging talents.

Check out the full list of galleries and save the date!

Preview (by invitation):
Tuesday June 13, 2017 and Wednesday June 14, 2017

Public opening dates and hours:
Thursday June 15, 2017 – Sunday June 18, 2017: 11am-7pm

Carla Ingrasciotta

  • Mazzoleni, Piero Manzoni, Achrome, ca. 1958 © Fondazione Piero Manzoni, Courtesy of Mazzoleni Mazzoleni, Piero Manzoni, Achrome, ca. 1958 © Fondazione Piero Manzoni, Courtesy of Mazzoleni
  • Susanne Vielmetter Los Angeles Projects, Andrea Bowers, The Triumph of Labor, 2016. Courtesy of the artist and the gallery Susanne Vielmetter Los Angeles Projects, Andrea Bowers, The Triumph of Labor, 2016. Courtesy of the artist and the gallery
  • Sprovieri , Boris Mikhailov, Untitled from the series ‘Green’, 1991-1993. Courtesy of the artist and Sprovieri, London Sprovieri , Boris Mikhailov, Untitled from the series ‘Green’, 1991-1993. Courtesy of the artist and Sprovieri, London
  • Casey Kaplan, Jordan Casteel, Twins, 2017. Courtesy of the artist and the gallery Casey Kaplan, Jordan Casteel, Twins, 2017. Courtesy of the artist and the gallery
Mexico City - Interviews

Playing with Nature: An Interview with Bosco Sodi

1 day ago

On the occasion of the opening of the exhibition “Elemental” at Museo Anahuacalli, we interviewed Mexican artist Bosco Sodi together with the curator Dakin Hart, to share with our readers the making of this show, organized in collaboration with Hilario Galguera.

Mara Sartore: Let’s start from this amazing exhibition you’re having at Museo Anahuacalli. I think the first question that may rise when approaching your artwork and, in this specific case, your exhibition, is: What is your relationship with nature? Could you tell us about the process of creation behind your artworks?

Bosco Sodi: To me, the most important part in the creation of an artwork is the process. The act of researching and experimenting with materials is the most joyful part of the workflow. I still believe in the essence of material and the accidents involved in working with organic material like rocks and other raw materials.

M.S.: So do you spend a lot of time in researching materials? Do you travel to find out new elements?

B.S.: Of course, I travel, I do projects and research, which may lead or not to surprising results.

Dakin Hart: You should see the movie of the making of the cubes to understand the process. He prepare the surface, he performs with the material. You realize how simple is the process: he sits beside the fire and it’s all about living with the material, being the materia and research.

M.S.: This leads me to my second question. What about the role of playing with the material? “Elemental” bring us to the essential and the childhood and at the same time this has also references to scientific concepts.

B.S.: I’m a big follower of the wabi-sabi philosophy upon which I base my whole work. It’s about embracing the accident, embracing the non-control, the passing of time. Playing with organic material makes things unique. And in order to embrace the accident you have to play, the scientific approach doesn’t lead to an accident. I always try to play to get completely different results.

D.H.: See, for example, the cubes by Bosco. They are always still surprising.

B.S.: Yes, when I was working in the studio at Casa Wabi, I didn’t expect this result, it was a big surprise and it was a unique result. When I travel and leave my studio for a few time, when I come back to the studio, I see them in a different way.

D.H: You know, Bosco has three children and this probably influence his work. Kids do not worry to much about mistakes, they turn it to something playable. This is also what wabi-sabi is about: is about engaging with nature. Bosco waits for these cubes.

M.S.: When I first came here in this place, the structure of the museum reminded me of archeological sites and even the sculptures in the building have something to deal with divinity. So, how has the curator displayed the objects within this context? During or after the process of creation do you perceive that your artworks have acquired some power or a special energy?

B.S.: My works are shamanic! You might think I’m pretentious stating this, but I really believe they are. This is the reason why I make them solid. People should read them in the simplest way. I really believe that they form an energy point.

M.S. What about leaving the curator all the power of displaying you artwork. Was it a proof of how someone can engage to your objects?

B.S. We are friend since few years and we have many points in commons, as the sensibility. I know I can trust him and he has the sensibility to understand my artwork.

D.H.: Great objects can bring to very different interpretations and Bosco is able to create artworks that can be interpreted by visitors. This is the strength of his art.

M.S: What about your relationship with Mexico City? During the press conference you stated that you often visited this museum when you were a child. In which area of the city did you grow up Why did you leave Mexico City?

B.S. I lived in the south of the city. My family was strongly engaged to the cultural scene of the city. We often went to museums and art exhibitions. In particular, I remember the garden of this museum which is one of my best memories. So when I was asked to have a show here, I thought that this was the perfect place to present my work.

M.S.: Now you live in New York, you have a studio there and in Barcelona too. Don’t you miss a bit living in Mexico City? How do you feel in New York?

B.S. Well, actually it’s 20 years I left Mexico City but I don’t miss living here. I like the city a lot, but I enjoy living in New York and I would like to keep my position in this city. In New York you can live in the way you prefer, artists are free to express their identity.

M.S.: Is there a place in Mexico City you love more than others? Where do you usually go when you come back here?

I really enjoy spending my time with friends around bars and cantinas. El Mirador in Chapultepec, is one of my favorite places. Another restaurant I like is Nicos in Azcapotzalco.

M.S.: A last question about your friendship…When did you start working together?

D.H: It was almost 2 years ago when Agustín Arteaga, the director of the Museo Nacional de Arte (MUNAL) in Mexico City connected us to organize an exhibition together and since then we started working together.

Bosco Sodi
Born in Mexico City in 1970 and currently based in New York City, Bosco is known for his richly textured, vividly colored large-scale paintings. Sodi has discovered an emotive power within the essential crudeness of the materials that he uses to execute his paintings. Focusing on material exploration, the creative gesture, and the spiritual connection between the artist and his work, Sodi seeks to transcend conceptual barriers. Sodi leaves many of his paintings untitled, with the intention of removing any predisposition or connection beyond the work’s immediate existence. The work itself becomes a memory and a relic symbolic of the artist’s conversation with the raw material that brought the painting into creation.

Dakin Hart
He is senior curator of The Noguchi Museum since 2013.

Mara Sartore

  • Bosco Sodi portrait, Photo by Teresa Sartore Bosco Sodi portrait, Photo by Teresa Sartore
  • Dakin Hart portrait, Photo by Teresa Sartore Dakin Hart portrait, Photo by Teresa Sartore
  • Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore
  • Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore
  • Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore
  • Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore Bosco Sodi, Elemental, installation view at Museo Diego Rivera Anahuacalli, Mexico City, Photo by Teresa Sartore
Moscow - News

Garage Museum Unveiled Artists List for First Triennial of Russian Contemporary Art

2 days ago

Garage Museum of Contemporary Art announced the list of artists for the inaugural Garage Triennial of Russian Contemporary Art that will be on show March 10–May 7, 2017. The full artist list follows below.

—Agency of Singular Investigations (ASI)
—Danil Akimov
—Pavel Aksenov
—Victor Alimpiev
—Evgeny Antufiev
—Vladimir Arkhipov
—Alexander Bayun-Gnutov
—BlueSoup group
—Anastasia Bogomolova
—Dmitry Bulatov
—Chto Delat
—Ilya Dolgov
—Aslan Gaisumov
—Kirill Garshin
—Genda Fluid (Antonina Baever)
—Gentle Women group
—Micro-art-group Gorod Ustinov
—Evgeny Granilshchikov
—Alexey Iorsh
—Evgeny Ivanov
—Anna Kabisova and Evgeny Ivanov
—Murad Khalilov
—Anfim Khanykov
—Ilgizar Khasanov
—Kirill Lebedev (Kto)
—Victoria Lomasko
—Artem Loskutov
—Kirill Makarov
—Taus Makhacheva
—Alexander Matveev
—Roman Mokrov
—Andrei Monastyrsky
—Damir Muratov
—Nadenka creative association
—Mayana Nasybullova
—Katrin Nenasheva
—Ivan Novikov
—Anatoly Osmolovsky
—Nikolai Panafidin
—Alexandra Paperno
—Anna Parkina
—Pavel Pepperstein
—Sasha Pirogova
—Anastasia Potemkina
—Sergey Poteryaev
—Alexander Povzner
—Dmitri Prigov
—Vladimir Seleznyov
—Alexander Shishkin-Hokusai
—Sveta Shuvaeva
—Shvemy sewing cooperative
—Elena Slobtseva
—Mikhail Smaglyuk
—Albert Soldatov
—Olga Subbotina and Mikhail Pavlukevich
—Alexandra Sukhareva
—Andrey Syailev
—Zaurbek Tsugaev
—Dimitri Venkov
—Where Dogs Run
—Alisa Yoffe
—Anton Zabrodin
—Art Group ZIP
—ZLYE art group

Garage Triennial of Russian Contemporary Art
10 March – 14 May 2017

Opening times:

Carla Ingrasciotta

  • Garage Museum of Contemporary Art Garage Museum of Contemporary Art
  • Garage Museum of Contemporary Art Garage Museum of Contemporary Art
Milan - Interviews

Jos de Gruyter and Harald Thys: Elegantia. An Interview with Curator Francesco Garutti

3 days ago

Triennale di Milano is presenting the first solo exhibition hosted by an Italian institution of the work by Belgian artists Jos de Gruyter and Harald Thys.

On the occasion of the opening of the exhibition, I met and interviewed the curator of the show, Francesco Garutti who shared with us the development of the project, the relationship with the artists and his involvement in the contemporary art scene.

Carla Ingrasciotta: Give us a brief introduction to the show. How did the collaboration with the artists come about, where did you meet and how did you all plan their first institutional exhibition in Italy?

Francesco Garutti: The idea of a show in Milan with Jos de Gruyter & Harald Thys was among the projects we had been considering together for a long time. In the beginning, we imagined a 1970s Milanese architecture: the icy atmospheres of glass and aluminium of the late modern city. Then Edoardo Bonaspetti invited us to conceptualise a show for the Trienniale spaces and so the project of “Elegantia” was born. So the idea of building a precise space, an environment  in which to situate the mental space of Jos & Harald, has been of central importance, as you can see, since the first moments of this Milanese adventure.
In all of their projects – I think about their solo show at the Kunsthalle in Basel, to the show at Raven Raw in London or MoMA Ps1 and at the CAC in Vilnius with White Suprematism – space, place and their related stories and stereotypes are the inspiration to produce and imagine a psychological and deformed parallel world.

C.I.: The show stands out for the special relationship that the sculptures and work of De Gruyter & Thys have with the architecture of the Palazzo della Triennale. In fact, this bond between art and architecture constitutes one of the focal points of your curatorial research. Could you tell us about the specifics of the preparation and your exhibition selections? How much of your research is in this show?

F.G.: The show itself is a work of art, a single piece/space to be observed and to pass through. “Luftspiegelung” is the German word often used by artists to explain the project for the Triennale. A mirage of a show, a reflection. Perhaps a dream. Dazzling white, abstract and guided by geometric principles, “Elegantia” is a generic “fine arts” show that, after few instants of exploration, reveals itself to be brutal and fake, imaginary and psychological. And the architecture of the exhibition, designed and constructed together with the artists in rigorous dialogue with the Triennale space, has a central role in building the set where this restless dream takes shape. It interested me a lot to take another look at some recent series of works such as White Elements (2013 -) or the watercolours of Fine Arts (2015) inside this troubled mirage. I am very proud to have succeeded in recreating the complete series of designs of Les Enigmes de Saarlouis (2010). It consists of a gallery of faces that observe the visitor in both rooms of the show. Dilated pupils, bulging eyes; a Pasolinian and Lombrosian look at the hypothetical inhabitants of a small town on the border between France and Germany. Once more a kind of apparently classical display: a gallery of portraits that, after a while, reveals its disturbing nature.

C.I.: During my visit, I was particularly impressed by the metaphysical, almost dystopian atmosphere that one experiences viewing this show. Each element in the setting speaks with the others in architectural harmony. I am thinking in particular of the room with the fountain, where it really feels like you are walking around a square, it’s like being catapulted into a metaphysical city by De Chirico. Yet there is no shortage of unruly and disordered elements. What is the message that lurks behind this space?

F.G.: The space of the show is deliberately false and artificial. The forced and constructed perspective of the enfilade is evident in the new work CAPUT, specifically designed for the Palazzo dell’Arte. It alludes to the rooms of a generic pre-modern building, an artificial and mental expansion of the Triennale.
The fountain you mentioned, “De Drie Wijsneuzen“, 2013, is “an interiors’ fountain”, keeper and guardian of a lot of the shows by the Belgian duo in various institutions around the world since “Optimundus” – the great solo show by Jos & Harald to the M HKA in Anversa in 2013. The three white faces that spit water are casts of mannequins found among the shops on a commercial street in Germany. The physical atmospheres of the imaginary insides of shopping centres and the threatening classical monumentality of the white faces blend with one another, giving body to a work that fills with sound Elegantia. The picture of flowing water is hypnotic, both a sweet and obsessive sound together.
The show – as de Gruyter & Thys argue – could be described as a production without an artist, generic and deformed like the mental image of an art show might be.

C.I.: There isn’t long until the next edition of miart, an event that, each year, revives and strengthens the Milanese art scene but that sometimes tends to exclude the emerging voices of “un-represented artists”. What is your point of view in situations like this?

F.G.: Art fairs are economic motors for the city’s art system. Any artist – even if not represented by a gallery – or any independent space takes advantage of the explosion of the market and of shows that are the result of these fairs. On a different side, an interesting and complex theme to be studied on the issue that you mention of “un-represented artists” – but perhaps more in general about the emerging scene in a city like Milan – is another: the artist’s studio. It’s really difficult for an emerging artist in Milano to afford a space to work in. The studio as a space of production, construction of the work but also of presentation. The studio as a place to experiment, to be wrong, to exchange information, ideas and vibrations, to build the collective context of one’s work. The proliferation of low cost spaces that can potentially be used as artist studios is the phenomenon that, in the second half of the ’90s, has transformed cities like Berlin and more recently Brussels. I don’t see it simply as a practical and physical matter, I think about the need to build an undergrowth of thoughts. The studio is a necessary spatial device in this sense. Universities and Academies should perhaps deal with  this type of issue. And in this sense I cannot avoid to think that Milan is a city full of underused or vacant buildings.

C.I.: Milan is your hometown. What are the most interesting places for art in your opinion and that you would recommend to art lovers visiting Milan?

F.G.: Private galleries, private foundations. Commercial galleries and heterogeneous private collections of different nature – art, design, photography –and sizes are fundamentally the icon and image of the art system in a private city such as Milan. Even the PAC – the public space par excellence for the contemporary in town– contains, in the design of Gardella’s marvellous architecture, the atmosphere of a bourgeois villa looking out onto a park garden. It is a kunsthalle that resembles an enormous apartment. Decidedly interesting for every curator and every artist. It’s as if Milan indirectly suggests that it’s not part of its nature to construct an enormous museum container to store all that is contemporary in the city, but it invites us to imagine to carving out even its public spaces format along the lines of small international institutions, more flexible, born of a precise idea and plan. Of course without panicking about the possible hybrids between public and private.

C.I.: Along with Vittorio Dapelo, you are involved with the activities of THEVIEW Studio, a space that deliberately deviates from the artistic conception of gallerists themselves and of their exhibition contexts. Could you tell us something more about this space? What collaborations are going on there? And what are the next projects in the pipeline?

F.G.: To tell you the truth, the fundamental point of departure is that THEVIEW Studio is not a space. There is an office, a place from which everything starts, but the point of departure of its founder and manager – Vittorio Dapelo – is really to move in an undisciplined way, “among” things. Being a “producer”, next to the artists and to their ideas, imagining together with them the places and corners from which to get inspiration and in which to work. The five solo shows of 2015 – Epaminonda, Wächtler, Stucchi, Cramer, Law – in the small iron and glass pavilion of Sant’Ilario have produced a great film exhibition in the Palazzo Durazzo “Pavilion Suite” (2016), in the ancient heart of Genoa. Both architectures – the space of an abandoned flower shop in front of the sea and a marvellous private building in Via del Campo – are just two of the possible places in which THEVIEW Studio has placed its projects. The future is still secret.

Carla Ingrasciotta

  • Jos de Gruyter e Harald Thys and Francesco Garutti. Courtesy of La Triennale di Milano Jos de Gruyter e Harald Thys and Francesco Garutti. Courtesy of La Triennale di Milano
  • Francesco Garutti Francesco Garutti
  • Jos de Gruyter & Harald Thys: Elegantia, installation view at the Triennale di Milano Jos de Gruyter & Harald Thys: Elegantia, installation view at the Triennale di Milano
  • Jos de Gruyter & Harald Thys: Elegantia, installation view at the Triennale di Milano Jos de Gruyter & Harald Thys: Elegantia, installation view at the Triennale di Milano
  • Jos de Gruyter & Harald Thys: Elegantia, installation view at the Triennale di Milano Jos de Gruyter & Harald Thys: Elegantia, installation view at the Triennale di Milano
Dubai & Sharjah - Interviews

On the Middle Eastern Art Scene: An Interview with Ramin Salsali

3 days ago

On the occasion of our Special Issue on the Sharjah Biennial & Dubai Art Week 2017, we interviewed Ramin Salsali, founder and director of the Salsali Private Museum (SPM), in Dubai. Located in the industrial area of Al Quoz in Alserkal Avenue, this is the first private museum in the region for contemporary Middle Eastern and international art.

Born in Tehran in 1964, Ramin Salsali started his own collection at the age of 21 and has been developing it ever since. This huge collection of more than 900 artworks found its home at SPM in 2011. The art space also hosts the collections of guest collectors and traveling exhibitions from around the world.

Mara Sartore: Let’s talk about the genesis of Salsali Private Museum. Your museum opened to the public in 2011, when Alserkal Avenue was at beginning of its activity. How did the landscape and the art community change in these years?

Ramin Salsali: Because of Alserkal, the entire cultural Ecosystem has been changed not only in Dubai, but also in the entire region. The increasing quantity and quality of creative spaces are part of this ongoing change and part of the diversification process.

M.S.: We can say you were one of the first pioneering collector of Dubai art scene. Where and how would you say everything began? Did you expect and foresee such a huge development in so short time?

R.S.: It started over 25 years ago in Germany by collecting of the art works of the Graffiti Artist who painted the wall of Berlin, Kiddy Citny and since then I try to educate and evolve myself. I am more than pleased to be considered as one of the contributor to this unique development and as such, I did not expect, but I truly hopped and wished that this path of speed of development would take place. My wishes came through!

M.S.: How did you begin collecting? What is the main motivation behind this passion and why did you decide to open your collection to the public?

R.S.: As mentioned before, I started to collect Art over 25 years ago, In fact it started even much earlier by collecting stamps and toy cars. I have an extensive collection of vintage Iranian stamps up to early phase of revolution. I have over 500 toy cars. I think some collectors have it in their DNA and some hire “advisors”!
I distinguish between Artisan and Engineered Collections. In my case it is DNA and true passion and therefore I decided to open a space called a “private museum”, to encourage others to collect and to share.

M.S.: As a collector, you have a wide knowledge of Dubai contemporary art scene. A part from the main art hub of Alserkal Avenue, which are the art spaces you would recommend visiting in Dubai and elsewhere in the UAE. Which are the emerging artists you’re following so far?

R.S.: I always recommend to all my friends to start with BASTAKIA, followed by DIFC and then ending with Alserkal and Al Quoz, it is traveling in time.
Allow me not to mention any name. But they are talented Emirati Artists that I follow. To be honest, I do consider some people who have the impact on the evolvement of Dubai as true emerging artists. In this case, I allow to name few of them, the Family Alserkal, Vilma Jurkute, Ali Khedra, Pia Shobha Shamdsani and HH Sheikh Zayed bin Sultan. They belong to those, who deserve to be called “artist”.

M.S.: What about your engagement with Dubai art scene? Which is the common trend we can find in UAE contemporary art today? How do you see Dubai’s art scene progress further?

R.S.: As always, I try to offer my utmost support for Dubai in general and wherever in the world, I praise Dubai and UAE for its unique achievements in such a short period. We shall not forget that the UAE is 45 years old and I wished some countries in the region to take this example. Considering this dynamic path, I will see Dubai and UAE as the engine of and catalyst of cultural progress for the entire region.

M.S.: As we are approaching to Art Dubai week, which are your expectations from this edition? Do you think the fair and the general art scene is renewing itself on this occasion?

R.S.: We are in the world, inventing itself on continues path! Dubai is the leading city in this context! Art Dubai is part of it and all do expect from Art Dubai the message of innovation. Looking forward to it, in particular to have Myrna Ayad as ex-chief Editor of CANVAS as new Director of Art Dubai.

Mara Sartore

  • Ramin Salsali Ramin Salsali
  • The Salsali Private Museum (SPM), Dubai
Philippines - News

Art Fair Philippines 2017: The New Art Destination

1 week ago

This year, Art Fair Philippines 2017 reaches its 5th edition marking itself as the premium art destination for modern and contemporary Philippine art in the world.

Running from February 16 to 19, 2017, the fair will take place at The Link carpark, located in Ayala Center Makati. The overall exhibition design of the fair is a project of Leandro V. Locsin and Partners, curators of the Philippine Pavilion in the 15th Venice Architecture Biennale.

The 46 participating galleries are: 1335 Mabini, Altro Mondo Arté Contemporanea, Archivo 1984, ARNDT, Art Cube Gallery, Artinformal, ART LAB, Art Underground, Art Verite’, Artesan Gallery + Studio, Avellana Art Gallery, Blanc, Boston Art Gallery, CANVAS, Edouard Malingue Gallery, Finale Art File, Gajah Gallery, Galería Cayón, Galerie Anna, Galerie Michael Janssen, Galerie Stephanie, Galleria Duemila, Gallery Kogure, Gallery Orange, J Studio, Kaida Contemporary, Asian Cultural Council/Leon Gallery, MO_Space, Nunu Fine Art, Paseo Art Gallery, Pinto Art Gallery, ROH Projects, Salcedo Private View, Secret Fresh, Silverlens, TAKSU, The Crucible Gallery, The Drawing Room, Tin-aw Gallery, Underground Gallery, Vinyl on Vinyl, West Gallery, XuArtspace, Yavuz Gallery, YOD Gallery and Ysobel Art Gallery.

Discover the program of talks, projects and tours of Art Fair Philippines 2017.

5F / 6F / 7F / Roofdeck
Teh Link Carpark Ayala Center
Makati City

Dates & Hours:
Feb 16-19, 2017
Thursday – Sunday 
10 am – 9 pm

Carla Ingrasciotta

  • Dex Fernandez Dex Fernandez
  • Maria Jeona Zoleta Maria Jeona Zoleta
  • Patricia Perez Eustaquio Patricia Perez Eustaquio
São Paulo - News

SP-Arte 2017: Save the Date!

1 week ago

Taking place from April 6 to 9, 2017, SP-Arte is one of the most important fair in Latin America. Every year the fair brings together a wide selection of artists, galleries and collectors who will be attending the event in the pavilion of Ibirapuera park and in various venues across the city.

This year, the established sections of the fair (Main, Showcase, Solo and Design) will see a new entry: Repertorio, a section curated by Jacopo Crivelli Visconti which is dedicated to artworks created in the 1980s by artists born before the 1950s.

The program of the fair includes a wide range of activities including Performances, Talks and a special Gallery Night.

The full list of galleries.

Carla Ingrasciotta

  • SP-Arte, Photo credits: Jéssica Mangaba SP-Arte, Photo credits: Jéssica Mangaba
Venice - News

Viva Arte Viva: Artists Announced

1 week ago

During the press conference held today, February 6th, 2017, the curator Christine Macel and the president Paolo Baratta revealed the participating artists and the national pavilions of the 57thEdition of La Biennale di Venezia. In the beautiful Venetian Palazzo, Ca’ Giustinian, headquarter of the Venetian Biennale, they have outlined what we should expect from the International Exhibition of Art, next May.

The show will be accompanied by 85 National Participations, 4 of which will be attending the Biennale for the first time (Antigua and Barbuda, Kiribati, Nigeria and Kazakistan); 120 invited artists from 51 different countries, 103 of them will be having their first Venetian experience.

The exhibition will stretch and wind into nine different chapters: the first two will take place at the Giardini while the other seven will occupy the Arsenale and the Giardino delle Vergini. As the curator explained, these “chapters” or “trans-pavilions” start from the “Book and artists Pavilion” to the “Time and infinitive Pavilion”. Each chapter will show peculiar approaches and different perspectives on the world and the art itself.

As the curator stated: “Viva Arte Viva wants to spread positive energy to the artists and at the same time dedicate a new attention to those artists too soon disappeared or still unknown to the general audience despite the importance of their work.”

Following this concept, the curator has planned to set up an “Open Table” , in order to give the artists the central part of the exhibition. Every Wednesday and Thursday during the six months, “Viva Arte Viva” will give artists the great chance to meet the audience for a shared brunch, discussing their work and art practice.

As Baratta stated: “We usually define La Biennale as a research site. We usually say that whatever the theme or setting of the exhibition will be, the Biennale must be qualified as a place that has its own method, and almost “raison d’etre”, and enlights the free dialogue between artists and the audience. For this 57th Edition, encounters and dialogues will be the main topics of the Exhibition “Viva Arte Viva””.


Giulia Capaccioli

  • Paolo Baratta, President of La Biennale di Venezia, and Christine Macel, curator of Viva Arte Viva Paolo Baratta, President of La Biennale di Venezia, and Christine Macel, curator of Viva Arte Viva
Berlin - News

Gallery Weekend Berlin 2017: Galleries Announced

1 week ago

Gallery Weekend Berlin returns for its 13th edition, from April 28 through 30, 2017. Bringing together emerging and established artists and 47 Berlin galleries, the weekend presents itself as a space of exchange and discourse. 

The participating galleries and artists are:

Arratia Beer, Fernanda Fragateiro
Galerie Guido W. Baudach, Jürgen Klauke
Blain I Southern, Jonas Burgert
Galerie Isabella Bortolozzi, Symonds Pearmain A/W 2017
BQ, Matti Braun
Galerie Buchholz, Caleb Considine; Melvin Edwards
Buchmann Galerie, Tatsuo Miyajima; Lawrence Carroll
Capitain Petzel, Charline von Heyl
carlier I gebauer, Thomas Schütte
ChertLüdde, Kasia Fudakowski
Mehdi Chouakri, Charlotte Posenenske
Contemporary Fine Arts, Katja Strunz; Bjarne Melgaard
Delmes & Zander, Jesuis Crystiano
Galerie Eigen + Art, Olaf Nicolai; !Mediengruppe Bitnik
Konrad Fischer Galerie, Edith Dekyndt
Michael Fuchs Galerie, Roni Horn
Gerhardsen Gerner, Markus Oehlen
Galerie Michael Haas, Jordi Alcaraz; Gino Rubert; Antoni Tápies
Galerie Max Hetzler, Günther Förg; Toby Ziegler
Kewenig, Jannis Kounellis
Kicken Berlin,”Sibylle Bergemann In Dialogue”
Klemm’s, Viktoria Binschtok
Helga Maria Klosterfelde Edition, Kay Rosen
König Galerie | Jose Dávila, Michaela Meise, Anselm Reyle
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Kraupa-Tuskany Zeidler, Guan Xiao
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Meyer Riegger, Eva Kot’átková
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Peres Projects, Brent Wadden
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Esther Schipper, Anri Sala; Angela Bulloch
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Sprüth Magers, Pamela Rosenkranz; Lucy Dodd
Supportico Lopez, Dara Friedman
Galerie Barbara Thumm, Teresa Burga
Galerie Barbara Weiss, Rebecca Morris
Wentrup, Olaf Metzel
Kunsthandel Wolfgang Werner, Martin Barré
Barbara Wien, Ian Kiaer / Żak
Branicka, Robert Kuśmirowski

Carla Ingrasciotta

  • Gallery Weekend Berlin Gallery Weekend Berlin
Venice - Posts

Two Giant Trolls Take Over the Iceland Pavilion: Out of Controll in Venice

2 weeks ago

Today the Icelandic Art Center has announced that Egill Sæbjörnsson, the selected artist to represent the Icelandic Pavilion at this upcoming Venice Art Biennale, has handed over the creative managing of the Pavilion to give this great opportunity to Ūgh and Bõögâr, two giant trolls became artists, . Their project, entitled “Out of Controll in Venice” will be curated by Stefanie Böttcher.

Ūgh and Bõögâr follow Sæbjörnsson artistic career since long period and have became an important part of his reality, sharing with him his Berlin space and crating exhibitions.

“Out of Controll in Venice” will let enter this two ferocius trolls into people’s life, perturbing their world, and the result of this encounter will share Iceland’s joy and, at the same time, fear of a tight coexistence with “the trolls” in a world wide range. Moreover this result will produce a deep reflection on how just a simple question on “what’s real” or “what’s virtual” could easily transform our perspectives.

Björg Stefánsdóttir, Director of the Icelandic Art Center, stated: “In recent years, the Icelandic Pavilion has frequently been a venue for dissolving social constructs – whether they be ideologies, nationalist sentiments or the myth of the artist. This tradition continues with Out of Controll in Venice”, where the boundary between the real and the imagined completely dissolves as we are drawn into the enthralling and ferocious realm of two trolls.”

Giulia Capaccioli

  • Egill, Ūgh and Bõögâr. Courtesy and copyright the artist and i8 Gallery Egill, Ūgh and Bõögâr. Courtesy, copyright the Artist and i8 Gallery