| | | | | | | | | | | | | | | | | Photo Basel 2018 | | | BASEL ART FAIRS 2019 | Galleries | Photography | | | | Photo Basel | Art Basel | Liste 2019 | VOLTA 15 | I Never Read, Art Book Fair | | | | Monday 10 June - Sunday 17 June 2019 | | | | | | |
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| | | | | | | | | | | | | | | | photo basel 2019 VIP Opening (by invitation only) Monday, 10 June, 6pm
Free public Vernissage: Tuesday, 11 June, 6pm
Public Days Wednesday, June 12 - Sunday, June 16, 2019 |
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| | | | | | | | | | | | RENÉ BURRI
Horse Pool and House by Luis Barragan, San Cristobal, Mexico 1976
Digital C-Type
Signed and dated by artist in ink on label on print verso 30 x 45 inches
Edition of 7 | | | | | | | | | | | | | | | | | | |
MAN RAY
Rayogram, 1959
Vintage rayogram
Signed and dated on recto.
Artist’s wet stamp on verso.
Original frame 10.5 x 9.2 inches (26.8 x 23.5 cm) |
HORST P. HORST
Mainbocher Corset, 1939
Platinum print, printed 1986
Signed in pencil on print recto
Signed, titled, dated and editioned on print verso AP1
from an Edition of 50 + 10AP; 16 x 20 inches |
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| | | | | | | | | | | | | | GEORG GERSTER
Dryland farming, California, USA, 1977
Inkjet printed with pigmented Epson Ultra Chrome K3, 100 x 150 cm | | | | | | | | | | | | | | | |
SONJA BRAAS
FORCES #01, 2002
C-Print, Diasec, wooden frame, 170 x 150 cm |
ROMEO VENDRAME
LD, 2009, from the series the chemistry of attraction
Lambda Print, between acrylic glasses, 118 x 80 cm |
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© Justine Tjallinks, Opulence
from the series 'Modern Times', 2017 |
© Justine Tjallinks, Androgyny
from the 'Modern Times' , 2017 |
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© Casper Faassen
Yuka, 2019 |
© Schilte & Portielje
Untitled, 2018 |
© Bastiaan Woudt
Rabia Hat, 2019 |
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| | | | | | | | | | | | | | | Paul Cupido | Clair de Lune, 2018 | Handcrafted Chine-Collé print on Washi and Toyobo paper | 50 x 65 cm | Edition 3 of 3 & 2 AP | | | Bildhalle is pleased to introduce Dutch artist Paul Cupido » with a small solo exhibition to a Basel audience. Paul Cupido's photographic explorations led him to Japan shortly after graduating from the Academy of Photography and later to the tropical zones of the Brazilian Amazon. His mesmerizing image sequences seem to have been created at the transitional moment between day and night, in a zone without time and geographical placement, but full of magic, melancholic beauty and poetic power. Book signing with Paul Cupido: Thursday, June 13 from 5 to 7 pm at our booth
Additional highlights at our booth: | | | | | | | | | | | | |
Albarrán Cabrera | Left: Mouth of Krishna #761, 2019 | Right: Mouth of Krishna #255, 2019 | Pigments on Gampi paper
over gold leaf | Edition of 20 |
| | | | | | | The artistic duo Angel Albarrán and Anna Cabrera (both born 1969, in Spain) have spent a lot of time in Japan, and their travels to the country have strongly influenced the aesthetic content of their work and the printing techniques they use. The question running like a thread throughout their work is how images trigger individual memories in the viewer. Albarrán Cabrera see their photographs as objects in their own right: they handcraft their prints using classic printing methods, such as platinum and silver halide, or invent new ones, such as pigment prints on gold leaves, create copies that are unique in themselves. The poetic and sensual nature of these prints is proof of an unrivalled craftsmanship. | | |
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| | | | | | | | | | | | | | Making of 'Tsunami' (by unknown tourist, 2004) 2015
© Cortis & Sonderegger; courtesy The Ravestijn Gallery | | | | | | Cortis & Sonderegger: Since 2012, artist duo Jojakim Cortis (b.1978, Switzerland) and Adrian Sonderegger (b.1980, Switzerland), otherwise known by their shared name Cortis & Sonderegger, have been constructing exhaustive dioramas (a three-dimensional theatrical model) by hand of iconic photographs that balance between truth and fabrication. Photographs such as Robert Capa’s Falling Solider, Ansel Adams’ Moon and Half Dome, Joe Rosenthal’s Raising the Flag on Iwo Jima and Stuart Franklin’s Tiananmen Square are all etched into our collective memory and consequently have all been recreated by Cortis & Sonderegger. After each scrupulous scene is made, the pair photograph their creation including the materials, tools, structures and lighting that have conceived their trickery in the frame. By exposing their activities, the duo allow us to examine where the boundaries lie of perceived reality, how fiction can work in tandem with truth and what authenticity is in the photographic medium. Jojakim Cortis (b. 1978) & Adrian Sonderegger (b. 1980) began their artistic collaboration during their studies of photography at Zurich University of the Arts (ZHDK) in 2005. Together they conceive and manufacture surreal worlds through their use of “staged” photography employing analogue techniques by hand. The artists live and work in Zurich, Switzerland. | | | | | | | | | | | | |
The Bath 2018 © Anja Niemi
courtesy The Ravestijn Gallery |
The Cowboy, 2018 © Anja Niemi
courtesy The Ravestijn Gallery |
| | | | | | Anja Niemi (b. 1976, Norway) always works alone; placing herself within her own meticulous tableaux, she constructs fictional stories where she is both the author and the character. In Darlene & Me (2014), Niemi plays the parts of two identical women living against the backdrop of a sparse, bleached house in the desert. The dualism in each performative photograph speaks clearly of the internal, and often opposing, voices we are all so attune with. In this way, as with all of her work, Niemi appeals to ideas that are innate to the human condition, rather than being confined to a personal mediation. And whilst her poetic narratives are wholly imagined (although frequently inspired by film and literature), they act as an intimate space to catalyse real conversations about identity, conformity and the relationship we have with ourselves. Anja Niemi studied at the London College of Printing and Parsons School of Design in Paris and New York and has exhibited in galleries worldwide. Three previous monographs of her work have been published, Photographing in Costume (Little Black Gallery, 2015), Short Stories (Jane & Jeremy, 2016), The Woman Who Never Existed (Jane & Jeremy, 2017). The poem by Lena Niemi is an excerpt from a longer text in the new monograph accompanying the exhibition titled She Could Have Been A Cowboy (Jane & Jeremy, 2018). Her work has been published in Firecrackers: Female Photographers Now (Thames & Hudson, 2017), and her image The Garden Hose was selected for the volume 1001 Photographs You Must See Before You Die (Cassell, 2017). | | |
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| | | | | | | | | | | | | | | | | © Tono Stano, Waiting for a caress 1993 | | | | | | | | | | | | | | | | | |
© Beat Presser, Krieger 1987 |
© Beat Presser, Fruit de la Mer |
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| | | | | | | | | | | | | | | © Ute Mahler, Zirkus Hein, Motiv 3 v. 16, 1973-1974, C-Print, 30 x 40 cm | | | | | | | | | | | | | | | |
© Edward Burtynsky, Series: The Anthropocene
Lithium Mines #2, Salt Flats, Atacama Desert, Chile, 2017 |
Arnold Odermatt, Stans, 1971, C-print, 50 x 50 cm
© Urs Odermatt, Windisch |
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| | | | | | | | | | | | | | Gregor Törzs: à la couleur - Schrecke, 2017, Archival Pigment Print auf Gampi Papier, 60 x 100 cm, Auflage 6
© Gregor Törzs / courtesy Persiehl & Heine, Galerie für Fotografie | | | | | | | | | | | | | | | |
Sarah Moon "Lanvin" 1998, Polaroid
© and courtesy Persiehl & Heine |
Sarah Moon "Chanel" 1994, Polaroid
© and courtesy Persiehl & Heine |
Sarah Moon "Issey Miyake" 1997, Polaroid
© and courtesy Persiehl & Heine |
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| | | | | | | | | | | | | | Robert Voit
Strand II, Japan, 1998
C-Print, Ed. 6 + 2 AP, 125 x 155 cm, mounted, framed | | | | | | Galerie—Peter—Sillem presents landscapes, still lives, and portraits by two highly acclaimed photo artists, circling around the theme of tranquility: Robert Voit (German, b. 1969), a former masterclass student of Thomas Ruff, and Denis Dailleux (French, b. 1958), two-time-winner of the World Press Photo Award, among many other prizes. Their images in the show will include photographs from Japan, India, and Egypt.
Robert Voit, born 1969 in Erlangen, studied with Gerd Winner at the Akademie der Bildenden Künste in Munich before becoming Thomas Ruff‘s master class student at the Kunstakademie Düsseldorf in 2001. From 2011 to 2013 Robert Voit taught as a lecturer and guest professor at the Academy of Fine Arts in Nuremberg. With New Trees (Steidl, 2014) and The Alphabet of New Plants (Hatje Cantz, 2015), he presented two highly acclaimed monographs, each of which was awarded the German Photo Book Prize in silver. Robert Voit has received numerous prizes, including the Sophie Smoliar Award (2000), the European Architecture Photography Prize (2003), the hausderkunst Prize (2004) and the sponsorship of the International Lake Constance Conference. Robert Voit has held the photographer's residence in Port-au-Prince, Haiti, and the artist's residence La Brea Matrix in Los Angeles. His work is part of numerous public and private collections. Robert Voit lives in Munich. | | | | | | | | | | | | | | | Denis Dailleux
Jeune fille dans un village près du Caire, 1996
C-Print, Ed. 6, 120 x 120 cm, mounted, framed | Denis Dailleux
Nature morte I, Calcutta, 2019
C-Print, Ed. 12, 38 x 38 cm, framed |
| | | | Denis Dailleux was born in 1958 in Angers, France. He has published a series of photography books, portraying Egypt, Cairo, Ghana, and the French banlieuePersan-Beaumont. Dailleux has been awarded several international prizes, including the Monographies Award in 1997, the World Press Photo Award in the portraits category in 2000, the Hasselblad of the town Vevey Award in Switzerland in 2000, the Fujifilm Award of Festival Terre d'Images in Biarritz in 2001, the World Press Photo Award 2014 in the staged portraits category (2nd), and the Prix Roger Pic in 2019. He is a member of Agence VU and currently lives in Paris. His work is held in various institutional and private collections such as Collection privée Agnès B., Fond National dʼArt Contemporain, Maison Européenne de la Photographie, and Collection Neuflize Vie. | | |
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| | | | | | | | | | | | | | © Daniel & Geo Fuchs
Jacques, Nature & Destruction, 2016 | | | | | | | | | | | | | |
Gisèle Freund, Frida Kahlo, Mexico City, circa 1951
C-Print, 44,2 x 34 cm © Gisèle Freund/IMEC/Fonds MCC |
© Alfred Seiland
Village by the Sea, Truro, Massachusetts, USA, 1979 |
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| | | | | | | | | | | | | | | Wetterseite VI, 2009 © Patrik Fuchs | | | | | | Patrik Fuchs is a photographic collector. Fascinated by the visual common property of our living worlds, by our trust in the familiar. He traces the everyday, at home in Switzerland or on extended journeys across the continent.
In the "ordinary" Fuchs searches for the typical, the aesthetic peculiarities, the beauty and the fractures. He encounters the supposedly banal in an unbiased manner; benevolent but incorruptible and direct. He works with the relationship between figure and function, space and atmosphere, without being irritated by the presumable modesty of his objects. This equal and appropriate view enables a closeness that Fuchs sometimes increases to intimacy. Yet his view of things is unagitated and inviting, his photographic precision captivating.
Mindful, he uncovers residual amounts of meaning and relationship. His found objects are not displayed, but attentively interpreted. His works reveal, without exposing. The gaze penet- rates the surface. Fuchs plays with the auratic, the touch of memory and presentiment; he depicts his motifs with the almost cool calm of mind that allegory or still life also makes use of. His photographs are serious but with a fine sense for the playful, the oblique. He is not a purist, but a lover of the simple and the invisible.
Patrik Fuchs (*1973), who grew up in Toggenburg, has lived in Zurich since 1996. First he works as a freelance photo assistant, later as a production assistant and location scout. He opened his photo studio in Zurich's industrial quarter in 2008 and his son Hannes Ernst was born in 2009. He is represented by the photographer agency Tina Aich. | | | | | | | | | | | | |
El Rio, 2016 © Anna Lehmann-Brauns |
Reservoir Chapf 2, 2010 © Silvio Maraini |
| | | Anna Lehmann-Brauns was born in Berlin in 1968. She is a graduate of the master class of Joachim Brohm, Hochschule für Grafik und Buchkunst in Leipzig. She lives and works in Berlin.
Lehmann-Brauns photographs are internationally known today. In May 2009 her works were presented at the New York Photo Festival. Already in 1997 the gallery owner Sascha Laue be- came aware of Lehmann-Brauns works.
Silvio Maraini: Born in 1970, grew up in Baden. Studied geophysics at ETH Zurich, working as a project mana- ger in the field of environmental protection. | | |
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| | | | | | | | | | | | | | | 2018 Master Cabinet | | | Special exhibition - Master Cabinet - Tender Moments | | | | After the successful launch of our Master Cabinet in 2018, highlighting vintage or early prints of classic photographic positions in a curated special exhibition, photo basel is delighted to return the Master Cabinet in 2019. Picking up from last year's topic "Pivotal Moments", our upcoming edition will focus on "Tender Moments" in photography. "Tender Moments" will explore people's capacity and need for affection, in images that capture and express the attentive and empathetic nature of this human interaction. And here, it is especially female artists who have produced many iconic images that are permeated with tenderness and care, and whose practice tends to be more true to the emotional and physical state depicted within their photographs. | | | | | | | | | | | | | | | | | Gotthard Schuh was born in Berlin to Swiss parents. In 1902 the family moved to Aarau, where he attended primary school and from 1914 the cantonal school and began to paint. In 1916 he graduated from the trade school in Basel. In 1917/1918 Schuh was drafted as a soldier for the border service. From 1919 he lived as a painter in Basel and Geneva. After a great trip to Italy in 1920 he settled as a painter in Munich. In 1926 he returned to Switzerland and became manager of a photographic business. After his marriage in 1927 he moved to Zurich, where he began to photograph. From 1928 to 1931 he had several exhibitions as a painter and joined the Basel artist group "Rot-Blau". 1931 the first photos were published in the Zürcher Illustrierte. 1932 followed a picture exhibition in Paris, where he met Picasso, Léger and Braque. From 1933 to 1937 Schuh worked as a freelance photo reporter for the Zürcher Illustrierte, Berliner Illustrirte Zeitung, Paris Match and Life. His reportages took him throughout Eu- rope and 1938/1939 to Indonesia. From 1941 to 1960 he was picture editor at the Neue Zürcher Zeitung. In 1951 he founded the College of Swiss Photographers together with Werner Bischof, Walter Läubli, Paul Senn and Jakob Tuggener. After 1960 he turned again to painting. Gotthard Schuh died in 1969 in Küsnacht on Lake Zurich. | | |
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| | | | | | | | | | | | | | | | | | Art Basel 2019 Private Days (by invitation only)
Tuesday, June 11, 2019, 11am to 8pm
Wednesday, June 12, 2019, 11am to 8pm Vernissage (by invitation only)
Wednesday, June 12, 2019, 4pm to 8pm Public Days Thursday, June 13, 2019, 11am to 7pm | Friday, June 14, 2019, 11am to 7pm | Saturday, June 15, 2019, 11am to 7pm | Sunday, June 16, 2019, 11am to 7pm |
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| | | | | | | | | | | | | Images: Detail from Jan Groovers Untitled NC 240.3, C-Print, 101,6 x 76,2 cm, 1989 | | | | | | | Jan Groover`s approach to photography, however, remained ‘abstract’ in a certain sense. Her works remind less of the supposed authenticity of the observed moment associated with the medium but rather show a consciously staged image. Color and form dominate, perspective is vague, spatial ambiguousness is constructed, and light becomes an object in itself. Jan Groover was interested in photographic images that seemed precisely planned and made, rather than discovered and captured by the camera. | | | | | | | | | | | | |
Jan Groover
Untitled NC 240.3, 1988
chromogenic print
76.2 × 101.6 Size (cm), 30.0 × 40.0 Size (in)
Courtesy Klemm’s Berlin |
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| | | | | | | | | | | | | | | | | | | | Melati Suryodarmo
Melati SURYODARMO, 2019
Multi-channel video 4-channel video Digital Video
Courtesy ShanghART Gallery, Shanghai, Beijing, Singapore | | | | | | | | | | | | | | | |
BirdHead
For a Bigger Photo 15, 2015
Gelatin silver print
00.0 × 100.0 × 5.0 Size (cm)
ShanghART Gallery |
Lynn HERSHMAN
Roberta on Her Way to Work, 1978
Gelatin silver print Vintage
33.8 × 28.9 Size (cm)
ShanghART Gallery |
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| | | | | | | | | | | | | | | | | | | | Pipilotti Rist
I’ve Only Got Eyes for You— (Pin Down Jump Up Girl), 1996
(for Parkett 48) | | | | | | | a presentation of rare and selected portraits & self-portraits made by artists for Parkett. | | | | | | | | | | | | | | | | | |
Gilbert & George
Gilbert & George, 1987
for Parkett 14 |
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© 10 June 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 | | |
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