At Art Basel, Restating the Obvious

18 June 2016

© Copyright 2016 HyperallergicAri Akkermans

I would suggest starting with the Statements section on the second floor, where young galleries introduce new artists to the big, fat market. Though this section is small, and it feels a bit lost. Middle Eastern galleries are the true discovery this year: At the London gallery Carroll Fletcher’s booth, Palestinian artist duo Basel Abbas and Ruanne Abou Rahme are showing a video, part of their new project And Yet My Mask is Powerful(2016), which takes the poetry of Adrienne Rich as the starting point of a script that addresses the apocalyptic imaginary of our times and transforms it into a social condition. Tunisian gallery Selma Feriani presented Algerian artist Massinissa Selmani with a number of simple but haunting works on paper, including the drawing seriesPotential Memories (2016) based on the format of an animated short film, creating a strange effect that combines the cinematic and painterly with the discreet and intimate qualities of drawing. At Dubai’s Grey Noise, Lantian Xie, a Dubai-born artist interested in the relationship of cosmopolitism and cultural belonging, showcased the project 2020–2046, a series of images, objects, and sounds titled after and reflecting on Dubai’s upcoming World Expo, and a science fiction film about near-future Hong Kong.

Share on FacebookTweet about this on TwitterGoogle+Share on LinkedInPin on Pinterestshare on Tumblr