LISTE ART FAIR / BASEL 2022

Toygun Özdemir, Ribbit, Ribbit and Self-portrait in Three Colours, 2021. Oil on canvas, 125 × 200 × 3 cm

Since its foundation, Liste has been regarded as one of the most important places for discovering young international art. The current voices in international art discourse, presented by primarily young galleries, not only reflect our present but also help create it. The fair has been inviting outstanding galleries of the younger generation to show the latest developments in contemporary art for 27 years. Selected artistic positions are presented on three platforms: Liste Art Fair Basel, Liste Showtime Online, Liste Expedition Online and permanent

Liste Art Fair Basel, the leading international fair for discoveries in contemporary art, will take place from 13 – 19 June 2022 in Hall 1.1 of Messe Basel.

Here are some of the highlights:

Selma Feriani Gallery

Nidhal Chamekh, nos visages No.XX, 2021. Ink and nails on paper, 29.5 × 21 cm
Nidhal Chamekh, nos visages No.XX, 2021. Ink and nails on paper, 29.5 × 21 cm

A presentation of new and existing artworks by Nidhal Chamekh, exploring the present through political narrative positions. His artwork is situated at the intersection of the biographical and the political, the lived and the historical, the event and the archive, it, therefore, reflects on the times we inhabit. Chamekh’s interest touches upon charged moments which expose certain destruction that consequently presents a space of production.

Voloshyn Gallery

Nikita Kadan, Untitled, 2022. Charcoal on paper, 50 × 70 cm
Nikita Kadan, Untitled, 2022. Charcoal on paper, 50 × 70 cm

Nikita Kadan interweaves his activist work in Kiev with his artistic practice, creating pieces that co-opt a historical framework to comment on contemporary issues.

Kogo Gallery

Kristi Kongi, led world we now inhabit.Here is the landscape. Full of colours. Full of dreams. Full of oranges and yellows. It is spring. And it is so bright, 2022. Watercolour, gel pen on paper, wooden frame, glass, 28 × 24 cm
Kristi Kongi, led world we now inhabit.Here is the landscape. Full of colours. Full of dreams. Full of oranges and yellows. It is spring. And it is so bright, 2022. Watercolour, gel pen on paper, wooden frame, glass, 28 × 24 cm

During lockdown, Kristi Kongi spent a lot of time in her studio in a relatively safe space compared to other people around the world. Almost unconsciously she started to look up at the sky through her studio windows. There she found the space we all share regardless of our geographical location and political, economic or social situation. Kongi started to paint watercolours, which can be seen as diary entries made during the pandemic. These works are like modern versions of Très Riches Heures, the famous 15th century book of hours, piece by piece revealing the troubled world we now inhabit.

Öktem Aykut

Toygun Özdemir, Ribbit, Ribbit and Self-portrait in Three Colours, 2021. Oil on canvas, 125 × 200 × 3 cm
Toygun Özdemir, Ribbit, Ribbit and Self-portrait in Three Colours, 2021. Oil on canvas, 125 × 200 × 3 cm

Either in his landscapes or in his works of portraiture and still lifes, Özdemir draws attention to the capabilities of change and transformation within nature, humans and objects. He conjures up characters enmeshed in the complexity of the 21st century, rendering them in absurd and paradoxical situations that are reflective of the artist’s idiosyncratic dark humour.

Sandwich

Raluca Milescu, Cream, 2020. Photographic paper, 43 × 31 cm
Raluca Milescu, Cream, 2020. Photographic paper, 43 × 31 cm

Touching on the subject of pop-culture, with a personal approach towards body issues, gender fluidity and social pressures are the digital collages of Raluca Milescu. Through her works, Milescu explores subjects such as corporality, intimacy, mental health, addressing the alienation of the self from its own emotional and biological system. This selection of 10 works explores the deceitful aspect of digital practices for managing emotional precariousness proliferated by the self-help industry.

Dastan’s Basement

Ali Meer Azimi, No.01 from Lipstick to the Void series, 2022. Iron, Stainless steel, Galvanized iron, Plexiglas, Glass, Neon light, Magnet, 230 × 175 × 110 cm
Ali Meer Azimi, No.01 from Lipstick to the Void series, 2022. Iron, Stainless steel, Galvanized iron, Plexiglas, Glass, Neon light, Magnet, 230 × 175 × 110 cm

“Lipstick to the Void” is an ongoing series that deals with a specified period of time that we call “at the moment”. The artist believes this temporality is constantly shaping contemporary geopolitics and is involved with another instant that he calls “the moment of impact”. Meer Azimi developed this concept studying the Iran-Iraq War, when Iraqi electronic disruption technologies had rendered Iranian air raid warning systems ineffective and turned the radar surface into an opaque white. The red siren had gone off and the bombs had fallen. Beyond “the moment of impact” and beneath the white surface of the radar, “wrinkles appeared as topographic ruins under the red sirens and the spilt blood”. The artist creates a sound area and installation piece in which the form and space are close to this moment. The pieces also deal with various characteristics of sound, hearing receptors and listening processes and how to counteract or neutralize them with some form of transparency. Regarding to the concept of “the moment of impact” he tries to consider the present as a corridor of sound that cannot be imagined without audible experience.

Bianca D’Alessandro

Rachel Rossin, Oh. Another Love Story, 2022. Oil and airbrush on panel with embedded holographic zoetrope, 55.9 × 45.7 × 15.2 cm
Rachel Rossin, Oh. Another Love Story, 2022. Oil and airbrush on panel with embedded holographic zoetrope, 55.9 × 45.7 × 15.2 cm

The New Museum and New INC’s first-ever virtual reality fellow, New York-based artist Rachel Rossin works at the forefront of this new medium, creating imaginary digital worlds that can only be accessed through an Oculus Rift. A self-taught programmer, Rossin blends together images from art history, popular culture, and modern technology in her virtual reality simulations, which have been described as “algorithmic collages,” “gravity-defying 360° views,” and “dantesque underworlds.”

El Apartamento

 Orestes Hernández Palacios, Cabeza dormida (Sleeping Head), 2021. Polychromed wood carving, 92 × 40 × 33 cm

Orestes Hernández Palacios, Cabeza dormida (Sleeping Head), 2021. Polychromed wood carving, 92 × 40 × 33 cm

There is a constant propensity to short circuit and break in the work of Orestes Hernández. His objects and installations dismantle the artistic reality in the search of new ways to face creation. In the case of painting, production that connects with his work in video, Orestes shows the aesthetics of “cut and paste” and contemporary visual saturation. More than an artist, Orestes is a cultural chronicler of his time.


The fair is taking place from the 13th – 19th June, 2022

The info is extracted from the press releases of the galleries.

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