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Art Basel Art 2017

(Clockwise, from top left) Reza Aramesh, Site of the Fall: Study of the Renaissance Garden, 2016-17, marble, topiary, Leila Heller, New York City, at Parcours, ArtBasel ; Sue Williamson, Messages from the Atlantic Passage, Goodman Gallery, Johannesburg, South Africa; Phyllida Barlow, untitled: 100banners2015, 2015, Hauser & Worth, Zurich; Thomas Struth, Paradise 28, Rio Madre de Dios, Peru 2005, 2005, chromogenic print, Galerie Max Hetzler, Berlin/Paris; Peter Regli, Reality Hacking No. 313, 2014, Levy Gorvy, New York.


ARTSCOPE AT ART BASEL SWITZERLAND: DAY TWO

First confronted by Al Wei Wei’s “Iron Tree” (2016), which changes patina as it ages, it also brings nature and the manmade relationship with nature into perspective. That relationship seems a theme of Parcours, curator Samuel Leuenberger’s brilliant trek through the city through the following of artwork installations. Reza Aramsh recreates Michelangelo’s “Slave” in resin, but tiesits hands behind his back with a rope, making him captive and towering on a plinth over the river. Katinka Bock’s “Parasite Fountain” (2017) creates ametal fish that draws water from a neighboring fountain, thus the parasite description, and does not give it back. It uses the water for itself. Politics has come into the work now.


Art Basel Entrance

Art Basel Entrance


ARTSCOPE AT ART BASEL SWITZERLAND: DAY ONE

Done with the hard-hitting political landscape of last year’s work here, and taking a breather, maybe literally, everyone’s happier seeing fewer political statement or in your face art. A lot is concentrating on the process, the materials and the bringing in of concrete, beads, aluminum screening and more for innovative treatments of material.