LISTE SHOWTIME

Stéphanie Saadé, Solid Gold, 2014. Chain, 24-carat gold leaf, 200 cm
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Stéphanie Saadé, Solid Gold, 2014. Chain, 24-carat gold leaf, 200 cm
SELECTIONS ARTS MAGAZINE
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3Marfa'
4Marfa'
5Liste 2020
6Dastan Gallery
7Dastan Gallery
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9Gypsum Gallery
10Maha Maamoun, Parroting, 2015. Archival Inkjet Print on Hahnemuhle Fine Art Baryta Satin, 59 × 80 cm. Edition of 6
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12Balice Hertling Gallery
13Balice Hertling Gallery
14Blank Gallery
15Blank Gallery
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LISTE SHOWTIME
Marfa' Gallery - The work of Stéphanie Saadé develops a language of suggestion, playing with poetics and metaphor. She shares clues, signs, imageless and occasionally silent trails with us, which interact like the words of a single sentence. It is for the viewer to decipher them, this enigmatic quality often stems from the artist’s own experience. In her oeuvre, personal experience is invoked exclusively as a universal subject.

Stéphanie Saadé, Rolling Pin, 2020. Used rolling pin, mother of pearl inlay, 4,5 x 48,5 cm

Source: Liste 2020
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Marfa' Gallery - The artist’s family rolling pin is incrusted with the current geographical coordinates of the four family members (father, mother, artist, brother)

Stéphanie Saadé, Rolling Pin, 2020. Used rolling pin, mother of pearl inlay, 4,5 x 48,5 cm

Source: Liste 2020
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Marfa'
LISTE SHOWTIME
Marfa' Gallery - A familiar trajectory, regularly undertook by the artist when she lived in Paris, is transposed onto the map of Lebanon. A number of obstacles prevent the Parisian path to be crossed : it is interrupted by a river, buildings, or the absence of streets. By coincidence, the end point on the new map is located very close to the place where the artist lived as a child.

Stéphanie Saadé, Nostalgic Geography, 2013. Printed map, laser cut mirror stainless steel track, 83 x 83 cm

Source: Liste 2020
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Marfa'
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Marfa' Gallery - The welds that close the links of a chain and make the chain strong are gilded, and appear.

Stéphanie Saadé, Solid Gold, 2014. Chain, 24-carat gold leaf, 200 cm

Source: Liste 2020
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Liste 2020
LISTE SHOWTIME
Dastan Gallery - "I create playful paintings, which bounce between real life and one that I imagine. Capturing awkward and dark humour moments, which happen at a glance, are the main theme in my work." ~ Hoda Kashiha

Hoda Kashiha, Night after Days, 2020. Acrylic on Canvas, 150 x 130 cm

Source: Liste 2020
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Dastan Gallery
LISTE SHOWTIME
Dastan Gallery - “Light goes to darkness, nights arrive after days - and I think of how terrific, enchanting and devastating this transformation is. These paintings are an ode to my appreciation for this common experience which we face so casually in our daily life. This series is about the color Black.”

Hoda Kashiha, The Darkness Reveals The Eyes, 2020. Acrylic on Canvas, 150 x 180 cm

Source: Liste 2020
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Dastan Gallery
LISTE SHOWTIME
Dastan Gallery - “Black is a space, allowing us to let our imagination fly - to do anything and everything without shame. And yet, it all returns to normal by a small beam of light, piercing this massive Blackness. Black makes a mess, Black causes darkness and at the same time it brings forth creation. I tried to depict the different faces of Black in this series of paintings.”

Hoda Kashiha, Spotlight, 2020. Acrylic on Canvas, 100 x 70 cm

Source: Liste 2020
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Gypsum Gallery - “In the couple of years following the 2011 Egyptian revolution, I noticed a rise in the appearance of animals in the writings of people around me. Has this always been the case but I just noticed it then? I started looking and finding more animals, animal news and analogies appearing in the news, talk shows, opinion pieces, literary texts and art projects. Possibly an attempt to revise, or conversely to re-assert, the status-quo and its catastrophic power relations. In this film, I focused on two significant pieces of writing from that period in which animals curiously appeared, not as metaphors, symbols or prosthetic tongues for an endangered political subject, but as indeterminate shifting forms with uncertain beginnings and ends.” ~ Maha Maamoun

Maha Maamoun, Dear Animal, 2016. Video. Color. Sound 25 min. Edition of 5

Source: Liste 2020
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Gypsum Gallery
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Gypsum Gallery - Domestic Tourism I: Beach (2005) depicts bathers at Alexandria’s famous Stanley beach. Stanley bridge’s construction extended the waterfront roadway over the sea, while preserving the storied Stanley Beach, a landmark of early twentieth century, golden-age Alexandria. The density of the crowd in the water and the bathers’ conservative dress indicates that the fortunes of the private-access beach have soured and the coastal city’s celebrated cosmopolitanism ceded to a resolutely lower middle class, Egyptian populace. The vibrant blue of the water echoes the image of Alexandria as a popular beach destination even as it absorbs increasingly large and rowdy crowds and rampant waterfront construction. The bathers strike poses that are reminiscent of Renaissance genre painting, inserting the scene within a history of image-making that seems out of sync with the subject. – The Metropolitan Museum, New York.

Maha Maamoun, Beach (Domestic Tourism Series), 2005. Light box, 75 x 50 cm. Edition of 6

Source: Liste 2020
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Maha Maamoun, Parroting, 2015. Archival Inkjet Print on Hahnemuhle Fine Art Baryta Satin, 59 × 80 cm. Edition of 6
LISTE SHOWTIME
Gypsum Gallery - Originally produced in collaboration with Egyptian musician Maurice Louca as artwork for his album Benhayyi Al-Baghbaghan (Salute the Parrot) released in 2014. The artwork conveys the influence of Cairo’s paradoxical subcultures and the microcosmic soundscape of Louca's work.

Maha Maamoun, Parroting, 2015. Archival Inkjet Print on Hahnemuhle Fine Art Baryta Satin, 59 × 80 cm. Edition of 6

Source: Liste 2020
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LISTE SHOWTIME
Balice Hertling Gallery

Mostafa Sarabi, Untitled, 2020. Acrylic on canvas, 130 x 95 cm

Source: Liste 2020
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Balice Hertling Gallery
LISTE SHOWTIME
Balice Hertling Gallery

Mostafa Sarabi, Untitled, 2020. Acrylic on canvas, 130 x 95 cm

Source: Liste 2020
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Balice Hertling Gallery
LISTE SHOWTIME
Balice Hertling Gallery

Mostafa Sarabi, Untitled, 2020. Acrylic on canvas, 130 x 95 cm

Source: Liste 2020
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Blank Gallery
LISTE SHOWTIME
Blank Gallery - In the six works that make-up Kukama’s latest body of work, one is enraptured by an alchemy of narrative, complexity and lyricism —poetry as method and history through verse. The paintings render themselves as a portal to a continuous and unconscious flow of thought and feeling —an interrupted recollection of wishes, provocations and reactions.

Donna Kukama, So damn beautiful, 2020. Graphite, oil pastel, acrylic, and pride on canvas, 172 x 172 cm

Source: Liste 2020
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Blank Gallery
LISTE SHOWTIME
Blank Gallery - Kukama’s paintings present a visual dialogue animated through a rejection of absolute translatability where only the titles communicate the message —even then, the meaning is coded, opaque….impenetrable. We’re never fully let in; who’s fall? Whose fake traumas? And why is Kukama travelling to the moon? A fluency in obscurity becomes the tool through which full expression can be achieved without complete revelation. It functions as an embrace of the unavoidable slippage between knowing and unknowing.

Donna Kukama, Today i'mma emigrate to the moon and take my plants with, 2020. Graphite, oil pastel, acrylic, and gravity on canvas, 172 x 172 cm

Source: Liste 2020
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LISTE SHOWTIME
Gianni Manhattan Gallery - In the work of Barbara Kapusta, sculpture, text, performance and animated video works blend together to investigate forms of metamorphosis. Ever changing, ever between states, her works recall the inherent potential of change in content, objects and beings interrogating materiality and collective becoming. Conscious of the place of the viewer, the artist navigates the in-between space of the individual and the collective, of dismemberment and amplification, fluidity and stasis, compilation and fiction - abolishing any strict categorical distinction. -- Alexandra Goullier Lhomme, curator of Tongue on Tongue, 2019.

Barbara Kapusta, Body Liking It, 2020. clay, black pigment, transparent glaze, platinum lustre, 28,5 x 27 x 11,5 cm

Source: Liste 2020

The first edition of Liste Showtime is an online platform for 72 galleries from 35 countries. Each gallery presents one artist to the audience.

In addition to the digital platform for galleries, Liste Showtime presents an artists’ project entitled Rewriting Our Imaginations inwhich posters created by the galleries’ artists are shown and sold online. The 72 posters are on display throughout the city of Basel as well.

Liste Showtime is on view until the 20th of September

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