Installation views of Perrotin's booth at Art Basel, 2023. Photo: Claire Dorn. Courtesy of all artists and Perrotin. ©ADAGP/ Paris 2023 ©2023 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Perrotin.
Art Basel Switzerland 2023
Jean-Marie APPRIOU, Iván ARGOTE, Daniel ARSHAM, Genesis BELANGER, Anna-Eva BERGMAN, Jason BOYD KINSELLA, Sophie CALLE, Maurizio CATTELAN, CHEN Fei, CHEN Ke, Johan CRETEN, Wim DELVOYE, Jeremy DEMESTER, Mathilde DENIZE, Nick DOYLE, ELMGREEN & DRAGSET, Jens FÄNGE, Bernard FRIZE, Laurent GRASSO, Hans HARTUNG, Thilo HEINZMANN, Leslie HEWITT, Gregor HILDEBRANDT, JR, Susumu KAMIJO, Izumi KATO, Bharti KHER, Klara KRISTALOVA, LEE Bae, Georges MATHIEU, Takashi MURAKAMI, Sophia NARRETT, Danielle ORCHARD, Jean-Michel OTHONIEL, Park Seo-Bo, GaHee PARK, Paola PIVI, SHIM Moon-Seup, SONG Kun, Jesús Rafael SOTO, Josh SPERLING, Tavares STRACHAN, Xavier VEILHAN, Pieter VERMEERSCH, Xiyao WANG, Emma WEBSTER
art fairs
June 13 - 18, 2023
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MCH Swiss Exhibition (Basel) Ltd.

Messeplatz 10

4005 Basel, Switzerland


HALL 2.1

Perrotin is pleased to participate in Art Basel’s latest iteration with a solo presentation by Genesis Belanger as part of the Kabinett sector and a monumental sculpture by Jean-Marie Appriou at Unlimited*. The booth also presents a monumental painting from the 70’s by Anna-Eva Bergman, concurrently with her major retrospective at the Musée d’Art Moderne of Paris as well as solo corners by Nick Doyle and Xiyao Wang.

Currently featured in a solo exhibition at the Centre Pompidou-Metz, Elmgreen & Dragset are represented at the booth with The Painter, a new work blending painting and sculpture to evoke the physical movements required to apply paint to canvas. The artist duo will have a solo exhibition at Perrotin Paris in October.

In addition, Maurizio Cattelan presents It, a marble sculpture of a black cat. Icons of ambivalence, black cats are either seen as symbols of bad luck or portrayed as smart sidekicks and lucky charms (especially in popular movies and cartoons). Cattelan’s cat is sitting coyly with its back to us, a potential metaphor for the artist himself, who refuses to explain his intentions leaving the viewers both perplexed and inspired.

Perrotin also presents a work from Sophie Calle’s Last Seen series, first exhibited in 2013 at the Isabella Stewart Gardner Museum in Boston, where the artist replaced masterpieces stolen from the museum in 1990 with texts and photos based on what the museum staff remembered about them. The artist will be honored at the Picasso Museum next October.

The booth also features works by Jean-Marie Appriou, Iván Argote, Daniel Arsham ahead of his double exhibition at Perrotin Paris and New York in September, Jason Boyd Kinsella, Chen Fei, Chen Ke, Johan Creten concurrently with his solo exhibition Le coeur qui déborde in Beaulieu-en-Rouergue’s abbey, Wim Delvoye, Jeremy Demester, Mathilde Denize, Jens Fänge, Bernard Frize, Laurent Grasso, Hans Hartung, Thilo Heinzmann, Leslie Hewitt, Gregor Hildebdrandt, JR, Susumu Kamijo, Izumi Kato and Xavier Veilhan concurrently with their solo exhibition at Perrotin Paris, Bharti Kher, Klara Kristalova, Lee Bae, Georges Mathieu, Takashi Murakami, Sophia Narrett, Danielle Orchard, Jean-Michel Othoniel ahead of his solo exhibition at Perrotin New York, Park Seo-Bo, GaHee Park, Paola Pivi concurrently with her solo exhibition at MAC Marseille, Shim Moon-Seup, Song Kun, Josh Sperling, Jesús Rafael Soto, Tavares Strachan, Pieter Vermeersch and Emma Webster.

*presented by Clearing, Jan Kaps, MASSIMODECARLO, Perrotin, and Galerie Eva Presenhuber

We are delighted to present One Bite of the Ripest Fruit, an installation by Genesis Belanger selected in the Kabinett sector, Art Basel’s first curated selection of installations, located within the booths of the galleries.

In One Bite of the Ripest Fruit, a street-side trash can is filled with the remnants of personal memorabilia, a picnic blanket morphs into a rolling hill overgrown with strange plants, and a flowering fruit tree is neatly planted in an amphora. Dioramas on the walls further Belanger’s recent body of work, each functioning as their own individual stage sets - the inside of a tightly packed fridge, the irresistible shelves of a store, and a voyeuristic bow window - each evoking various psychological stages and states of turmoil.

Genesis Belanger stages psychologically charged mise-en-scènes composed of idiosyncratic versions of everyday objects. Working in a multitude of handcrafts and materials, Belanger conjures installations of unresolved tension on the edge of a temporal collapse. In her immersive scenes, objects become surrogate for the human body, which is principally concerned with the manifestation of capitalist myths on a gendered psyche.

Takashi Murakami, 'Tan Tan Bo “Multiverse”', 2023. Acrylic and platinum leaf and gold leaf on canvas mounted on aluminum frame. 200 x 200 x 5 cm | 78 3/4 x 78 3/4 x 1 15/16 inch. ©2023 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Perrotin

Takashi Murakami has made a huge impression on the contemporary art world by linking the likes of otaku culture and characters with Japanese art history.

Mr. DOB, a cartoon character elevated to the level of contemporary art subject, was born in 1993 with the aim of disjointing the meaning of Japanese “character culture,” a subject that had suddenly become the focus of attention at the time. The name “DOB” itself has no meaning. This thought, which dates back to the title of his doctoral thesis, “Imi no muimi no imi” (The meaning of the nonsense of the meaning), also serves as both the motivation and the very subject of Murakami's artistic practice via his unique brand of nihilism and cynicism. The design of Mr. DOB has been morphing in detail and proliferating ever since, the character becoming an alter ego or self-portrait-like presence.

Tan Tan Bo, in a sense a reincarnation of Mr. DOB as a monster, is based on a manga character created by Mizuki Shigeru, a favorite of Murakami's when he was a boy. The complex image of the phantom reflects Murakami's personal anxiety regarding the expanding development of nuclear power.

Text extract from: Mori Art Museum, “Takashi Murakami: The 500 Arhats” Works of Murakami #6: Mr. DOB, Tan Tan Bo, Gero Tan, 2016

Maurizio Cattelan, ‘It’, 2023. Belgian black marble / Marbre noir belge. 37 x 19 x 41.5 cm | 14 9/16 x 7 1/2 x 16 5/16 inch

Maurizio Cattelan presents It, a marble sculpture of a black cat. Black cats have long symbolized bad luck across cultures. But in popular culture such as movies and animations, black cats are often portrayed as smart sidekicks and lucky charms. An icon of ambivalence, a black cat is the protagonist of the Italian children’s song "Volevo un gatto nero" (I want a black cat) that asks for none other than a black cat. The Korean pop duo Turbo’s hit song "Black Cat" (1995) is a remake of the Italian song and describes a black cat named Nero as an adorable and mischievous friend. No matter how desperately we profess our desires like the narrator of the songs, Cattelan’s cat is sitting coyly with its back to us. Perhaps the black cat is Cattelan himself, who refuses to explain his intentions and instead leaves the viewers perplexed yet inspired.

Elmgreen & Dragset, ‘The Painter’, Fig. 4, 2022. Mirror-polished stainless steel, lacquer. Overall : 250 x 250 x 60 cm. Photographer : Elmar Vestner. Courtesy of the artists and Perrotin.

Currently featured in a solo exhibition at the Centre Pompidou-Metz, Elmgreen & Dragset are represented at the booth with The Painter.

A life-size figure stands before a large canvas hung upon the wall. He leans forward mid-action, legs wide, with his arm outstretched, completing the stroke of paint he appears to be applying. Rendered in polished stainless steel that reflects and distorts the surrounding environment and with realistic detail like traditional classical sculpture, this half-dressed man embodies the very action of painting. Elmgreen & Dragset playfully combine the two conventionally established mediums of art, painting and sculpture, blending the two forms together and evoking the physical movements required in putting paint to canvas. The fact that the viewer is reflected in the surface underlines the audience’s role in completing the meaning of an artwork, and makes the viewer complicit in the story that unfolds.

On the occasion of Art Basel, Nick Doyle presents a new set of sculptural wall works featuring wilting sunflowers, in a vast array of newly developed color dyes, a part of Doyle’s ongoing florals. The vending machine (Always, 2023) and the candle stick (Extinguish, 2023) examine the vocabulary of Americana and the ever evolving relationship to consumerism and violence. The artist also presents a sculpture (Try to Fit In, 2022) from his Executive Toys series, a handcrafted automaton that pokes fun at the nature of American success, stuck in a never-ending cycle of self-sabotage, a flopping trophy fish in this instance.

Nick Doyle is keenly aware of the legacy of the American notion of Manifest Destiny. Known best for sculptural wall works made from collaged denim, Doyle infiltrates the vocabulary of Americana to examine greed, excess, and toxic masculinity. Doyle uses the road trip—a pillar of American mythology—as a point of entry to his work in order to question the persistence of Rugged Individualism as the fabric of our national identity. Through a series of mechanical miniatures, theatrical scenery, and satirical prop-like denim works, the artist foregrounds the dangers of nostalgia and our evolving relationship to consumerism. Seemingly innocuous, Doyle’s imagery—vending machine, typewriter, cigarette pack—and materials—indigo and cotton—tell a story of American colonialism and consumerism, as well as explore the influence of media on global trade systems. By employing materials that hold cultural significance, the artist both reflects on and critiques social and political agendas that are often at play in contemporary life and visual culture.

Jean-Marie Appriou presents L'Homme qui marche (2023), a sculpture that continues the work the artist has been doing for several years on the Egyptian step with his series of astronauts. The artist is also referring here to the well-known expression "it's a small step for man, but a giant leap for mankind". This walker does not touch the ground, but levitates a few centimeters from his base, touching the crystals with his foot: is he looking for something material, or is he carried away by a dream?

We are also delighted to present Horizons (2023), a monumental sculpture by Jean-Marie Appriou at Unlimited presented by CLEARING, Jan Kaps, MASSIMODECARLO, Perrotin and Galerie Eva Presenhuber.

Horizons is a monumental aluminum project started by Jean-Marie Appriou in 2022. It is through a large-scale boat carrying two characters «austronauts» traveling through the stars and ages. Jean-Marie Appriou’s practice is a sublime union of mythology and craft. Verging on wizardry, he draws from his knowledge of ancient Egypt and literary history to generate new narratives, inhabited by characters that animate his flowing artistic production. From the vessels that carried ancient gods to the afterlife, to our contemporary spaceships that grant access to otherworldly dimensions, Appriou takes his viewer by the hand into his exquisitely poetic world, where classicism and pure imagination blossom into unique, sensory experiences.

On the occasion of Art Basel, Xiyao Wang presents four new paintings. The Berlin-based Chinese artist creates large-scale, immersive paintings in which gestural lines evoke echoes of landscapes, bodies, movements, thoughts. In the process, she develops a kind of hybrid abstract painting that combines various influences and inspirations: Taoism and poststructuralism, ancient Chinese pictorial traditions, bodywork, dance, martial arts, and the canon of Western art history.