© Copyright 2016 Vogue. Kevin McGarry
As the spring art season’s grand finale, and the insular, salubrious antecedent to Miami’s world-colliding winter bacchanal, a particularly wet and stormy Art Basel proper closed its doors on Sunday. Among the more than 4,000 artists who participated in the main fair’s miscellany of platforms—blue-chip dealers with prime spots in the convention center; upstart galleries packed into out-of-the-way corridors in the same complex; the Statements section comprised of mini solo exhibitions; and the in situ projects of Parcours, this year sited in Basel’s old town and organized by local curator Samuel Leuenberger—a number of newcomers and rediscoveries peeked through as rays of light.
The London- and Tunisia-based gallery Selma Feriani presented a booth of new drawings by emerging French-Algerian artist Selmani in the Statements section of Art Basel. Following up on a special mention in last year’s Okwui Enwezor–curated Venice Biennale, Selmani’s works put a delicate spin on images of war. Graphite sketches of soldiers and civilians on tracing paper were overlaid upon one another, so that one obscured the other in a blurring, near-erasure that is both fragile and powerful.