Art Basel Paris 2024: Grand Palais, Booth B36

  • KARLA BLACK

    ROSS BLECKNER

    MONICA BONVICINI

    ANDREA BOWERS

    ISABELLA DUCROT

    THOMAS EGGERER

    SANYA KANTAROVSKY

    MARTIN KIPPENBERGER

    SEAN LANDERS

    MARIA LASSNIG 

    ALEXANDRA METCALF 

    MALCOLM MORLEY

    XIE NANXING

    JACK O’BRIEN

    AMY SILLMAN

    MIKOŁAJ SOBCZAK 

    AUSTIN MARTIN WHITE 

    LEYLA YENIRCE

  • Martin Kippenberger, Kasperle IV (Punchinello IV), 1993

    Martin Kippenberger

    Kasperle IV (Punchinello IV), 1993
    Oil on canvas
    180 x 150 cm
    70.9 x 59 inches
  • It is certainly easy to regard Martin Kippenberger as one of the greatest performers and self-promoters among German artists of...
    It is certainly easy to regard Martin Kippenberger as one of the greatest performers and self-promoters among German artists of the 1980s and 1990s. Martin Kippenberger embraced chaos and spontaneity, positioning himself as both an insider and outsider within the art scene, blurring the boundaries between high and low culture, personal identity, and social critique. At the beginning of 1990s, Kippenberger created the Kasperle series, featuring the character Punchinello (known as ’Kasperle‘ in German-speaking regions), which was first shown in Paris in 1993 to coincide with his retrospective at the Centre Pompidou. The figure of the comical and subversive fool served as an alter-ego for Kippenberger himself – someone who mocked authority, broke social taboos, and used humor to critique the power structures within the art world and beyond.
  • Installation view: Martin Kippenberger. Bitteschön Dankeschön. Eine Retrospektive, Bundeskunsthalle, Bonn 2019-2020
  • Maria Lassnig, Schafott der Eliten / Die Elite ist immer in Gefahr (Scaffold of the Elites / The Elite Is...

    Maria Lassnig

    Schafott der Eliten / Die Elite ist immer in Gefahr (Scaffold of the Elites / The Elite Is Always in Danger), 1995
    Oil on canvas
    200.5 x 150.2 cm
    79 x 59.1 inches
  • Maria Lassnig (1919-2014) is internationally regarded as one of the leading painters of the 20th century. She coined and developed...

    Maria Lassnig (1919-2014) is internationally regarded as one of the leading painters of the 20th century. She coined and developed the notion of 'Körpergefühlsmalerei' (body awareness painting) through her practice of visually expressing the subjective feeling of the physical body.

     

    Scaffold of the Elites / The Elite Is Always in Danger stands out as one of her more abstract works, addressing themes of power and vulnerability. The artist brought a figure onto the canvas, simultaneously a torso and a gigantic mouth. The contours of the body evoke a mechanism that is under tension and could snap at any moment, depicting the represented elite 'in danger'.

  • Amy Sillman, Mrs & Mrs, 2024

     

    Amy Sillman

    Mrs & Mrs, 2024

    Acrylic and oil on linen

    190.5 x 167.6 cm

    75 x 66 inches

     

    Amy Sillman’s painting Mrs & Mrs presents a fusion of abstraction and figuration, a hallmark of her work. Renown for her dynamic, process-oriented approach, Sillman engages in a practice that often rejects traditional dichotomies – abstraction and representation, form and formlessness, painting and drawing. Her work embraces a visual vocabulary that suggests bodily forms, emotional states, and the complexity of human relationships.

  • More recently, I started thinking about shape. I’ve never read a book on shape. I’ve read books on gesture; I’ve read tons of books on color, surface, field, ground, representation, abstraction. But I’ve never read a book on what a shape is. I like shapes. So I was making all of these round ones. And then I thought, “I guess they’re people.”

    – Amy Sillman

  • Alexandra Metcalf, Mushroom Cloud Repetition, 2024

    Alexandra Metcalf

    Mushroom Cloud Repetition, 2024
    Oil on canvas, Artist’s frame
    203 x 143 cm
    79.9 x 56.3 inches
  • Karla Black, Clearly, 2024

    Karla Black

    Clearly, 2024
    Mirror, glass paint and oil paint
    180 x 150 cm
    70.9 x 59 inches
  • For Karla Black, paint on a planar surface remains sculptural, while color – the sine qua non of painting – becomes as much a sculptural element as shape or volume.

    – Barry Schwabsky

  • Xie Nanxing, f o r a d e c a s a #2, 2020

    Xie Nanxing

    f o r a d e c a s a #2, 2020

    Oil on canvas

    180 x 270 cm

    70.9 x 106.3 inches

  • Xie Nanxing’s paintings cannot be cast in the camps of either aestheticized objecthood or conceptual dematerialization, they hover firmly in between.

    – Ruth Noack, curator documenta 12

  • Sean Landers, Why I Live, 2024

    Sean Landers

    Why I Live, 2024
    Oil on linen
    96.5 x 81.3 cm
    38 x 32 inches
  • Andrea Bowers, Chandeliers of Interconnectedness (Behind Naming Before Speaking Beneath Words, Quote by Susan Griffin), 2023

    Andrea Bowers

    Chandeliers of Interconnectedness (Behind Naming Before Speaking Beneath Words, Quote by Susan Griffin), 2023
    Steel, neon and fused glass
    136 x 100 x 88 cm
    53.5 x 39.3 x 34.7 inches
  • Based on actual sycamore branches, LA-based artist and activist, Andrea Bowers, has created a hanging sculpture made of recycled steel with representations of leaves in non-toxic neon and recycled glass. Words wind down a branch using lines of poetry by the playwright and radical feminist philosopher, Susan Griffin. 

  • Andrea Bowers, Chandeliers of Interconnectedness (Women Still Dream, Quote by Susan Griffin), 2023

    Andrea Bowers

    Chandeliers of Interconnectedness (Women Still Dream, Quote by Susan Griffin), 2023
    Steel, neon and fused glass
    94 x 75 x 61 cm
    37 x 29.5 x 24 inches
  • Read the recent Wallpaper feature on Andrea Bowers’ chandeliers here.

  • Installation view: Dear Earth, Hayward Gallery, London, 2023
  • Isabella Ducrot, Pot and Green Leaves I, 2023

    Isabella Ducrot

    Pot and Green Leaves I, 2023
    Pastel, pigments, China ink and textile on Japan paper, unframed

    71 x 54 cm
    28 x 21.3 inches
  • Isabella Ducrot, Still Life on Grill, 2024

    Isabella Ducrot

    Still Life on Grill, 2024
    Pastel, pigments, China ink and collage on paper
    Paper dimensions:
    54 x 82 cm / 21.3 x 32.3 inches
    Framed dimensions:
    66.2 x 94.2 cm / 26 x 37.1 inches
  • Ross Bleckner, Face to the Sun, 2024

    Ross Bleckner

    Face to the Sun, 2024
    Oil on linen
    213.4 x 152.4 cm
    84 x 60 inches
  • Ross Bleckner, Untitled, 2024

    Ross Bleckner

    Untitled, 2024
    Oil on canvas
    76.2 x 76.2 cm
    30 x 30 inches
  • Thomas Eggerer, Joe’s Place, 2020

    Thomas Eggerer

    Joe’s Place, 2020
    Oil on canvas
    165.7 x 132.1 cm
    65.2 x 52 inches
  • Thomas Eggerer’s first solo exhibition with Capitain Petzel, Galeriawill open on November 2, 2024.

  • Leyla Yenirce, Blueprint, 2024

    Leyla Yenirce

    Blueprint, 2024
    Oil, acrylic spray and silkscreen ink on canvas
    180 x 200 cm
    70.9 x 78.7 inches
  • Blueprint will be presented from Friday 18th October as part of Oh la la! at our Art Basel Paris booth B36.

    Leyla Yenirce‘s solo exhibition Splitter opens at Kunstmuseum Magdeburg on October 16th.

  • Monica Bonvicini, Love Is Blind (C6C), 2024

    Monica Bonvicini

    Love Is Blind (C6C), 2024

    Colored mirror, hot rolled steel, aluminium, stainless steel chain and handcuffs

    150 x 100 cm / 59 x 39.4 inches

     

    The mirrored surface of Monica Bonvicini’s 'Love Is Blind (C6C)' invites viewers to engage in an act of voyeurism, both observing and being observed. It provokes a range of emotions, from playful self-expression in front of the reflective surface, to a sense of unease due to its cold and impenetrable nature.

  • Austin Martin White, nightshade(ochinggõmbo), 2024

    Austin Martin White

    nightshade(ochinggõmbo), 2024

    3m reflective fabric, graphite, pigment, rubber, acrylic, vinyl and screen mesh
    127.4 x 101.6 cm / 50.2 x 40 inches

     

    Austin Martin White’s nightshade(ochinggõmbo) focuses on the historical significance of the okra plant, specifically showcasing its flower and fruit. The artist draws upon the historical context of the okra plant, with its origins in West Africa. Introduced to Europe during the Umayyad conquest of Hispania, it spread around the Mediterranean and into the Americas via the Atlantic slave trade by the mid-17th century.

  • Austin Martin White‘s works were recently featured in the group exhibition Overflow, Afterglow: New Work in Chromatic Figuration at the Jewish Museum, New York.

  • Jack O’Brien, Allowance, 2024

    Jack O’Brien

    Allowance, 2024
    Sousaphones, Barbican Centre street light, PVC coated steel rope, PETG Plastic and aluminium armature wire
    106 x 150 x 60 cm
    41.7 x 59 x 23.6 inches
  • As the 2023 recipient of Camden Art Centre’s Emerging Artist Prize at Frieze, London-based artist Jack O’Brien’s solo exhibition The Reward is currently on view at Camden Art Centre in London.

  • Jack O’Brien, Lead Eye, 2024

    Jack O’Brien

    Lead Eye, 2024
    Tenor horn, chrome-plated steel, PETG Plastic, electrical cabling, stockinette and spray paint
    56 x 24 x 41 cm
    22 x 9.4 x 16.1 inches
  • I'm trying to explore a state in which everything feels charged.

    – Jack O'Brien


    Read the interview with Jack O’Brien in the current issue of Frieze.

  • Sanya Kantarovsky, Patient, 2024

    Sanya Kantarovsky

    Patient, 2024
    Oil on linen
    40.6 x 30.5 cm
    16 x 12 inches
  • Sanya Kantarovsky, Meatball, 2019

    Sanya Kantarovsky

    Meatball, 2019
    Oil and watercolor on linen
    Image dimensions:
    40.6 x 30.5 cm / 16 x 12 inches
    Framed dimensions:
    44.2 x 34.6 cm / 17.4 x 13.6 inches
  • Sanya Kantarovsky , Selected Works 2010-2024

    Sanya Kantarovsky

    Selected Works 2010-2024

    The MIT Press, 319 pages

    Release date: October 29, 2024

  • Mikołaj Sobczak, Adam Gawron, 2024

    Mikołaj Sobczak

    Adam Gawron, 2024

    Oil, print on wood, disassembled metal stand

    250 x 122 cm / 98.4 x 48 inches

     

    Exhibition History

    Mikołaj Sobczak. Impossible SongsJester | Flanders Arts Institute, Genk, 2024

  • Malcolm Morley, Airlock, 2014

    Malcolm Morley

    Airlock, 2014
    Oil on linen
    Image dimensions:
    101.6 x 127 cm / 40 x 50 inches
    Framed dimensions:
    106.8 x 132.2 cm / 42 x 52 inches
  • When Malcolm Morley makes a painting, he is not actually seeing the image. He paints it in an abstract, not...

    When Malcolm Morley makes a painting, he is not actually seeing the image. He paints it in an abstract, not representational, mode. By being concerned with precisely rendering the image, he happily loses it. The painting has a weird paradoxical beauty, neither figurative nor abstract – a painting about painting.

    – Charline von Heyl

  • Art Basel Paris 2024

    Booth B36
    Preview by invitation: 16-17 October Public Days: 18-20 October Contact at the booth Anna Duque y González +49 160 95887981...

    Preview by invitation: 16-17 October

    Public Days: 18-20 October

     

    Contact at the booth

    Anna Duque y González

    +49 160 95887981

    ad@capitainpetzel.de

    Dr. Nina Koidl-Weidemann

    +49 151 41423438

    nkw@capitainpetzel.de

    Valeria Losniza

    +49 176 20728452

    vl@capitainpetzel.de