Here is an exclusive look at the second installment of pieces from the Art Basel gallery previews I have received:
Troika Reality is Not Always Probable, 2018
7mm White Dice | 24.8 x 17.9 x 1.1 inches
Reality is Not Always Probable is constructed from thousands of white dice and is generated, line by line, by manually emulating the rules of a simple computer binary program. Its title references a quote by Jorge Luis Borges and men’s disquiet towards a lack of controllable or predictable events. The works originate from the artists’ interest in the human experience of digital production and the shift away from the material towards the virtual.
Virtual Failure, 2018
50,000 colored dice | 196 x 39.3 x .4 inches
Virtual Failure is also a suspended tapestry-like construction made of thousands of dice constructed by manually assembling the dice according to algorithmic rules. These self-imposed rules were inspired by a mathematical concept and evolutionary algorithm first discovered in the 1940’s and that became the precursor to the digital computer and, at its time, was meant to simulate ungraspable amounts of data and unlock the mysteries of all life.
Gabriel Rico Doce, 2018
Wooden meat, porcelain bird, shell, plastic grapes, glass bottle, brass, horse shoe, ceramic plate, branch, neon, leaf | 23.6 x 74.8 x 1.5 inches
Gabriel Rico’s work is developed in a zone in which one object crisscrosses with another. By using his fascination with philosophical analogies and scientific disciplines, Rico creates pieces that fragment the composition of the contemporary human and evidence the geometric imperfection in nature.
Idris Khan 'I can still see you, an echo to be touched’, 2018
3 ink stamped glass sheets, aluminum and steel 64 15/16 x 55 1/8 x 7 1/16 inches
Idris Khan often employs the tools of photomechanical reproduction to create his work. Photographing or scanning from secondary source material he then builds up the layers of scans digitally, which allows him to meticulously control minute variances in contrast, brightness and opacity. The resultant images are often large-scale C-prints with surfaces that have a remarkable optical intensity.
Paul Lee Finding You There, 2018
Canvas, wood, stretcher bars, tambourine, glass, acrylic, spray paint, pastel 20 x 20 x 3 1/2 inches
Paul Lee’s works are experiments that draw from painting, collage, and sculpture. His raw materials are an array of found objects and images—including beer cans, articles of clothing, light bulbs, bath towels, rocks, and faces from vintage magazines—which he then cuts up, paints over, or reassembles.
Sanya Kantarovsky Consignment, 2018
Oil and water color on canvas | 75 x 55 inches
Sanya Kantarovsky's multifaceted approach often results in artworks that seem forced to reckon with their own embarrassment. His figurative paintings are his most well known series and contain drastic shifts in scale, paint application and are loaded with dark humor.
Jean-Luc Mylayne N°524,Février-Mars-Avril 2007, 2007
Chromogenic Print | 89 3/4 × 72 inches (framed)
The photograph N°524, Février-Mars-Avril 2007 is a large chromogenic print from a series of works that Jean-Luc Mylayne realised in 2007 in Marfa, Texas. For over three decades the artist has dedicated himself to the meditative act of observing birds, seeing it as a symbol for existential questioning and thoughts that emerged from his original occupation as a philosopher and poet.
Hugo McCloud 2006ing, 2018
Patina, oil stick, solder on solid bronze sheet, mounted on aluminum frame | 79 x 66 1/2 inches
McCloud has been recognized for his sophisticated and exuberant use of color and innovative techniques in bodies of work referred to as the “stamped” and “veiled” paintings, typified by their vibrant and at times reflective surfaces. The Metal Paintings signal a dramatic and exciting departure, both formally and aesthetically, while at the same time marking a return to utilizing materials and processes that McCloud first explored in the late 2000s.
Anne Collier Woman Crying (Comic) # 3, 2018
C-Print | 49.6 x 68.9 inches
Anne Collier combines still-life photography with techniques of appropriation in meticulously arranged compositions. Photographed against flat, plain surfaces in her studio, found objects—record covers, magazine pages, appointment calendars, and postcards—reveal Collier’s interest in the mass media and popular culture of the 1960s, 1970s, and 1980s.
Haegue Yang Partial Lunar Eclipse – Trustworthy #329, 2017
Sandpaper on cardboard, framed | 33.94 x 33.94 inches
Combining industrial fabrication and folk craftsmanship, Yang explores the affective power of materials in destabilizing the distinction between the modern and pre-modern. Her practice extends across various media, from paper collage to staged theatre pieces and performative sculptures.
Alicja Kwade Ein Barhocker ist ein Barhocker ist ein Barhocker, 2018
Wood | 61.02 x 18.11 x 18.11 inches
Alicja Kwade’s work investigates and questions the structures of our reality and society and reflects on the perception of time in our everyday life. Her diverse practice is based around concepts of space, time, science and philosophy, and takes shape in sculptural objects.
Sam Durant Empathy for Everyone (large version), 2018
Electric sign with vinyl text | 55 x 68 inches
Sam Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism.
Florian Maier-Aichen Untitled, 2017
C-print | 72 x 90 1/4 inches
Florian Maier-Aichen's altered landscape photographs celebrate the wonder and invention of visual creation, looking back at the history of early photography and German Romantic painting. Employing an exhaustive range of staged effects, such as double exposures and light leaks, and computer and hand adjustments on top of traditional techniques, Maier-Aichen produces seamless photographs that do not reveal their intricate compositions.
Louise Lawler Federal Offense, 1999
Cibachrome print, flush-mounted on aluminium | 40 × 50 inches
Louise Lawler is a pioneering artist who emerged in the 1980's, and is considered a key proponent of the Pictures Generation. In her work she concerns herself with issues of authorship and the identity of works of art. Many of her photographs feature other artists’ works placed in different contexts – from private homes to museum and gallery installations. In Federal Offense, Lawler asks the viewer to consider which, exactly, is the primary image – the sculpture, the shadow, or the photograph?