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  • Highlights and Sales from an Effervescent Art Basel Paris VIP Preview

    Highlights and Sales from an Effervescent Art Basel Paris VIP Preview

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    Art Basel Paris 2024 on opening day. Courtesy of Art Basel

    The majestic Grand Palais quickly filled with a steady stream of art lovers there for Art Basel Paris’ VIP preview day. The atmosphere was positive and the mood upbeat, spurring healthy sales and lively negotiations from the early hours. Collectors and professionals from across the globe descended on the preview, with many traveling from the Americas and Asia. Among the notable attendees were Chloe Sevigny, Natalie Portman, Owen Wilson, Princess Maria-Anunciata von Liechtenstein, Queen Rania of Jordan, Raf Simons, Sheikha Mayassa, Sheikha Nawar Al Qassimi, Philip Tinari, Massimiliano Gioni, Adrian Cheng, George Economou, Maya Hoffmann and Patrizia Sandretto Re Rebaudengo, to name a few.

    Image of a fair booth with black walls.Image of a fair booth with black walls.
    Pace Gallery’s booth “Mystic Sugar” curated by Paulina Olowska at Art Basel Paris. Sebastiano Pellion di Persano

    At the entrance, Gladstone’s booth greeted fairgoers with a monumental Dubuffet hanging on the wall, juxtaposed with a sculpture by Sarah Lucas and drawings by Marisa Merz, an homage to the Arte Povera artists celebrated in the show at La Bourse—Pinault Collection. Pace Gallery stood out with “Mystical Sugar,” curated by Paulina Olowska, featuring an extensive work that dominated the booth alongside pieces by Louise Nevelson, Kiki Smith and Lucas Samaras. In the first few hours, all four of Olowska’s paintings sold, as did several sculptures by Nevelson and Smith. In the backroom, Lee Ufan’s Response from 2024 led sales, complementing works by Ufan, Agnes Pelton, Max Ernst, Leonor Fini and Alexander Calder.

    Next door, Blum & Poe presented a solo booth of Asuka Anastacia Ogawa, which sold out by the afternoon, with prices ranging from $22,000 to $100,000. Not far away, Eva Presenhuber’s solo presentation of new works and furniture by Tschabalala Self also sold out in the early hours, with prices ranging from $175,000 to $320,000. Jeffrey Deitch curated a booth featuring rarely seen artists like Myrlande Constant and Ella Kruglyanska, with a focus on Judy Chicago and a standout selection of Rammellzee works, ahead of his upcoming show in NYC.

    PPOW saw strong results, selling all of its Grace Carney pieces in the $20,000 to $30,000 range, along with a central piece, a large table with a hand-painted tablecloth and porcelain vases by Ann Agee, sold as a pair for $14,000-18,000. MASSIMODECARLO also did brisk work, selling twenty-five pieces on the first day, including a Matthew Wong painting consigned directly from the estate, presented alongside a work by Salvo. Other sales included a piece by Dominique Fung ($36,000), various works by Jean-Marie Appriou, two by Tomoo Gokita, three by France-Lise McGurn and one by artist duo Elmgreen & Dragset, who currently have a museum exhibition at Le Musée D’Orsay.

    Among the notable sales on the first day, White Cube sold a Julie Mehretu work for $9.5 million, a Howardena Pindell piece for $1.75 million and a Lucio Fontana slash for $1.3 million.

    Image of a booth with paintings and sculpturesImage of a booth with paintings and sculptures
    Jeffrey Deitch at Art Basel Paris. Photo by Andrea Rossetti. Courtesy of the artists and Jeffrey Deitch, New York and Los Angeles.

    Standing out in the Hauser & Wirth booth was a striking spider by Louise Bourgeois, paired with a powerful Ed Clark, which reportedly sold by the end of the day for $950,000. Also sold was a work by Barbara Chase Riboud for $2.2 million and a large Mark Bradford for $3.5 million. Of particular interest, the external wall featured a large Jeffrey Gibson, hinting at a potential new collaboration with the gallery, while the other wall showcased a vibrant, explosive work by Frank Bowling. Meanwhile, Lisson Gallery sold two pieces by Colombian artist Olga de Amaral—one for $800,000 and the other for $400,000—both to a private U.S. collection. The sales coincided with the artist’s current show at Foundation Cartier in Paris, one of many exhibitions opening alongside Art Basel Paris.

    Image of a fair boothImage of a fair booth
    Lisson Gallery at Art Basel Paris. Courtesy Art Basel

    In celebration of Surrealism’s 100th anniversary, many booths honored artists from the movement in the city where it began. Di Donna offered a beautiful dialogue between Jean Tanguy and Wilfredo Lam, while Nahmad devoted their entire booth to works by Dalí, Picabia, Max Ernst, Tanguy, De Chirico, Picasso and Magritte, along with a stunning floating mobile by Calder. In the masterworks section, featuring pieces priced in the five- to six-digit range, Van De Weghe presented a 1964 Pablo Picasso and a 1985 Great American Nude by Tom Wesselmann, riding the wave of momentum from the “Pop Forever” show at the Fondation Louis Vuitton. Tornabuoni’s booth featured a standout monumental map by Alighiero Boetti, covering an entire wall. New York dealer Aquavella showcased a series of masterpieces by Fontana, De Kooning, Basquiat and Thiebaud, with a gallery representative telling Observer that “a lot of good collectors” had come through throughout the morning.

    Among the best-curated booths, The Modern Institute from Glasgow dedicated its entire presentation to a site-specific, immersive installation by artist Martin Boyce, titled Before Behind Between Above Below. Combining various works and elements, Boyce created a liminal interior space exploring the boundary between the real and imagined and the collapse of architecture and nature. The installation drew inspiration from Jan and Joël Martel’s cubist trees, first exhibited at the Exposition des Arts Décoratifs et Industriels Modernes in 1925, right in front of the Grand Palais.

    Image of a booth with a lamp on the floor and a pink structure all the ceiling. Image of a booth with a lamp on the floor and a pink structure all the ceiling.
    The Modern Institute at Art Basel Paris. The Modern Institute

    Once the ground floor became too crowded to navigate, many collectors sought breathing room in the upstairs sections, where more space  allowed for new discoveries, particularly in the terrace corridor of the “Emergence” section. A standout in this area was the experimental Jakarta-based gallery Rho Projects, showcasing Kei Imazu’s intriguing blend of historical memory, traces,and digital structures (priced between $15,000 and $20,000). Another highlight was a large, narrative-rich painting by young Polish artist Jeh Eustachy Wilsky, presented by Piktogram, stretching across the entire booth.

    SEE ALSO: Lukewarm and Less Engaging, London’s 1-54 Had Little New to Say This Year

    Upstairs also housed a range of thriving galleries, including Karma, Clearing, Mariane Ibrahim, Sultana and Société. Société’s booth had a future-forward feel, featuring Trisha Baga’s pictorial explorations of the digital realm and a divinatory video by Lu Yang. Nearby, Ortuzar Projects presented a solo booth of Takako Yamaguchi, fresh from the Whitney Biennial, which quickly attracted buyers. With prices set at $300,000, only three works remained by midday.

    Throughout the VIP day at Art Basel Paris, the atmosphere was effervescent, proving that collectors are still eager and excited about bold new moves—especially with this being the first Art Basel in its new, opulent historic venue, which truly has no architectural equal worldwide.

    SCAD at Design Miami Paris with an Alumni Booth presenting the work of Trish Andersen, Lærke Lillelund, Bradley Bowers and Eny Lee Parker. Photo Chia Chong. Courtesy of SCAD.

    Design Miami Paris also saw a successful opening, launching its second edition the day before with a similarly packed VIP reception at L’Hôtel de Maisons. Inside the lavish 18th-century mansion, exhibitors presented a curated selection of historic and contemporary collectible designs, with strong sales early on. Notably, Galerie Downtown-LAFFANOUR (Paris) sold a full-scale Jean Prouvé post-war prefabricated house (1946) for over one million euros.

    Among the standout presentations, SCAD took over the elegant staircase with a cascade of abstract forms and vivid colors in a fiber site-specific installation by artist and alumna Trish Andersen. The school also showcased the creative talents of alumni Lærke Lillelund, Bradley Bowers and Eny Lee Parker. Other highlights included fashion designer Rick Owens’ striking pair of Tomb Chairs in the gardens, presented by Salon 94 Design (New York), alongside rare pieces by Gaetano Pesce, such as his Palladio Cabinet (Milk colored prototype) (2007) and Flower Origami Table (2023). The award for “Best Gallery Presentation at Design Miami Paris 2024” went to Galerie Gastou (Paris) and Galerie Desprez-Bréhéret (Paris), which brought a significant collection of minimalist works by Jean Touret in wood and iron, shown in dialogue with contemporary pieces by Agnès Debizet.

    Image of a garden of a elegant palace with peopleImage of a garden of a elegant palace with people
    The garden of Design Miami at the fair’s opening. IVAN EROFEEV

    Art Basel Paris and Design Miami Paris continue through Sunday, October 20.

    Highlights and Sales from an Effervescent Art Basel Paris VIP Preview

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    Elisa Carollo

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  • Frieze Returns to London: Here’s Are This Year’s Highlights

    Frieze Returns to London: Here’s Are This Year’s Highlights

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    This year’s Frieze Masters offered a beautiful juxtaposition of the natural and mechanic. Photo by Hugo Glendinning. Courtesy of Frieze and Hugo Glendinning.

    London’s art world has come alive once more for Frieze week. The Big Smoke is glittering with new shows, drinks receptions and VIP dinners and along with thousands, I went to pray at the feet of art and commerce at Frieze London 2024. The habitual hum of excitement bordered on anxiety this year as a depressed art market and an expanded Art Basel Paris (due to start in a few days) invited talk about London’s rivalry with the City of Lights. Is this the beginning of Brexit’s wrestling of the European art crown from London’s hands? Frieze director Eva Langret, showcasing a vibrant and varied London art scene, seemed to successfully make the case for why not.

    “Frieze was never just a trade fair,” Langret told The Art Newspaper this week, but also an opportunity for “the many conversations that you can anchor around the galleries and the many ways in which they work for the artists.” Indeed, I found much to enjoy—particularly, as is always the case with art fairs, the opportunity to discover exciting artists and galleries I had never heard of. Of course, I would be remiss not to snark that if Frieze truly wishes to be more than a trade fair, they will need to consider adjusting ticket prices to encourage wider participation.

    A redesigned floor plan by A Studio Between prioritized the new and emerging galleries in the Focus section, who, rather than sulking somewhere near the back of the tent, were able to greet visitors immediately. Like last year, they impressed with innovative booths. The Focus section is known for being experimental—the galleries in this section are looking to make a name for themselves. Placed along a central corridor, we were able to interact with them repeatedly whilst navigating the fair. I was particularly excited to see Xxijra Hii steal focus with Hannah Morgan’s alabaster carvings, steelwork, pewter casts, frogged clay and soundscape. I’d previously seen a very small show in Xxijra Hii’s boxy garage-like space in Deptford, their strong showing at Frieze is a testament to the breadth and depth of the London art scene even in a struggling art market and amongst omnipresent funding cuts.

    SEE ALSO: One Fine Show: ‘Consuelo Kanaga, Catch the Spirit’ at SFMOMA

    Other standouts in the Focus section included Eva Gold’s sensitive text-based work at Rose Easton (You were disgusting and that’s why I followed you, 2024), Sands Murray-Wassink’s tongue-in-cheek illustrations at Diez (Culture is not a competition, 2024) and Nils Alix-Tabeling’s camp insectile sculptures at Public Gallery. Further into the fair, the blue-chip galleries presented solid, predictable booths, showing off big names—Georg Baselitz held the fort at the White Cube and Chris Ofili at David Zwirner.

    Three people sit on a bench in a room with large colorful paintings hung on the wallsThree people sit on a bench in a room with large colorful paintings hung on the walls
    Harlesden High Street’s booth at Frieze London. Photo by Linda Nylind. Courtesy Linda Nylind / Frieze.

    For all the talk about Paris and London, Mumbai and New Delhi were the cities at the top of my mind this Frieze London. Indian galleries took pride of place at this year’s fair and ran with breathtaking displays. Vadehra Art Gallery from New Delhi showcased an incredible cabinet of curiosity and banality by Atul Dodiya (Cabinet VI and Cabinet VIII), including pipes, photographs and vaguely animist figurines. Jhaveri Contemporary showcased the textile work of Sayan Chanda (Dwarapalika II, 2024) and Gidree Bawlee (Kaal (Pala) 2023), which blended together into a sublimely sensate and textural experience.

    Outside the tent, there were great improvements in the sculpture park this year. Arresting, thoughtful pieces responded deftly to their environment, working with organic forms and pagan imagery to transform a jubilantly sunny Regent’s Park into an other-worldly spectacle. Visitors were greeted by Leonora Carrington’s bronze sculpture The Dancer (2011) upon entering, the figure (half-bird, half-man) melted into bucolic surroundings. Carrington‘s Dancer was swiftly followed by two bronze pillars by Theaster Gates, The Duet (2023). The works in the park were so well integrated into the grounds that the trees that littered the lawn felt like sculptures themselves, blurring the line between the natural and the man-made; one work actually hung from a tree. My favorite by far was Albany Hernandez’s Shadow (2024). This was a shadow painted under a tree in the park using water-based grass paint. The paint marked the tree’s 10:30 a.m. shade; when I arrived around 3 p.m., the tree had two delicate shadows.

    A white gallery space filled with simple modern sculptureA white gallery space filled with simple modern sculpture
    Gagosian’s booth at Frieze Masters. Photo by Hugo Glendinning. Courtesy of Frieze and Hugo Glendinning.

    At the other end of the sculpture park, Frieze Masters opened with a beautiful juxtaposition of the natural and mechanic. Gagosian’s slick booth of metallic sculpture by John Chamberlain and furniture by Marc Newson stood next to a wooden booth with work much softer in feel at Hauser & Wirth, with broad-ranging paintings from the 19th and 20th Centuries, including Philip Guston and Édouard Manet. In typical showman style, David Aaron followed up last year’s towering T-Rex “Chomper” with an enormous Egyptian sarcophagus from the 7th Century BCE. Thaddeus Mosley at Karma in the ‘Studio’ section—which featured solo shows of living artists and considered their studio practice—seemed like an anchor point in the fair. This is due to the booth’s central placement but also its visual impact. The booth was vast and striking; Mosley’s robust wooden towers, pulling from modernist abstraction and African sculpture, made an imposing statement.

    One prominent theme with Masters was the rediscovery of important female artists, with lengthy biographies getting ample space in numerous galleries: Eva Švankmajerová was spotlighted by The Gallery of Everything, Feliza Bursztyn at The Mayor Gallery and Alice Baber at Luxembourg + Co.

    All in all, the Frieze fairs were good this year—fun, even. Frieze London celebrated the contemporary art scene in London whilst showcasing talents from across the globe, particularly works by Indian stars. Frieze Masters returned to its rightful place as Frieze London’s drab older sister whilst also reintroducing some unsung talents. The sculpture park, for once, held its own and felt like a destination in and of itself. The stark October sun was shining over an overexcited city, and London, it seemed, was well and truly alive.

    Frieze Returns to London: Here’s Are This Year’s Highlights

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    Reuben Esien

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  • Justin Bieber Trolled for Unimpressed Reaction to Taylor Swift’s ‘Karma’ at Coachella – 247 News Around The World

    Justin Bieber Trolled for Unimpressed Reaction to Taylor Swift’s ‘Karma’ at Coachella – 247 News Around The World

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    • Justin Bieber was trolled for appearing unimpressed by Taylor Swift’s “Karma” at Coachella.
    • The incident led to a variety of reactions on social media, with some users criticizing Bieber’s perceived lack of interest in Swift’s music.
    • Some speculated that Bieber’s reaction was due to his knowledge that “Karma” was about shading his friend/manager Scooter Brown and himself.
    • Despite the controversy, Bieber made a notable appearance at Coachella, performing a remix of “Essence” with Tems and Wizkid, marking his return to the music scene after a period of health struggles and a break from performing.

    Justin Bieber’s unimpressed reaction to Taylor Swift’s “Karma” at Coachella 2024 has sparked a wave of trolling on social media, with many users sharing their opinions on the matter. The incident was captured in a viral video where Bieber, accompanied by his wife Hailey Bieber, appeared uninterested when “Karma” was played. His expressionless face and lack of participation in the surrounding vibes drew attention and criticism from the internet community.

    Some users speculated that Bieber’s apparent lack of enthusiasm was due to his knowledge that “Karma” contains lyrics that could be interpreted as shading his friend and manager, Scooter Brown, and possibly himself. This theory was based on the assumption that the song’s content could be seen as a critique of those who have wronged Swift, including individuals close to her.

    Justin Bieber Trolled for Unimpressed Reaction to Taylor Swift’s ‘Karma’ at Coachella

    However, other users chose to troll Bieber, suggesting that his apparent foul mood could be attributed to his wife, Hailey Bieber, or simply his own disinterest in the music. Some joked that Bieber was upset because everyone around him was enjoying the music, while he was not.

    Despite the trolling, Bieber had a positive experience at Coachella 2024. He surprised fans by joining Tems and Wizkid onstage for a performance of the remix of “Essence.” This highlighted a more positive aspect of his Coachella experience, showcasing his ability to enjoy music festivals and collaborate with other artists.

    The incident with Bieber’s reaction to “Karma” at Coachella 2024 serves as a reminder of the complex dynamics within the music industry and the public’s fascination with the personal lives of celebrities. It also underscores the importance of understanding the context behind such reactions, as they can often be influenced by a variety of factors, including personal relationships, professional rivalries, and the interpretation of lyrics.

    Justin Bieber Trolled for Unimpressed Reaction to Taylor Swift's 'Karma' at Coachella
    Justin Bieber Trolled for Unimpressed Reaction to Taylor Swift’s ‘Karma’ at Coachella

    Justin Bieber’s unimpressed reaction to Taylor Swift’s “Karma” at Coachella 2024 led to a flurry of trolling on social media, with various theories and jokes circulating about his motivations. Despite the trolling, Bieber had a positive experience at the festival, showcasing his ability to enjoy music and collaborate with other artists.

    https://www.youtube.com/watch?v=QKGIfomD0Hw

     

    Don’t Miss | Charlie Sheen’s Daughter Sami Unveils Unexpected Style at Coachella

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    247 News Around The World

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  • First-Ever Indoor HOLI Colors Event in Nation’s Capital – Washington, D.C.

    First-Ever Indoor HOLI Colors Event in Nation’s Capital – Washington, D.C.

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    ‘BOLLYWOOD KARMA – HOLI in DC’ – First-Ever Indoor HOLI Event with COLORS and GLOW @ Washington, D.C.’s Premier Venue ‘KARMA DC’ with Bollywood Celebrity ‘DJ SVP’ on Saturday, March 23 – Brainchild of Manan Singh Katohora, Akhil Modha and Saumil Parikh

    Press Release
    –


    updated: Mar 5, 2019


    WASHINGTON, March 5, 2019 (Newswire.com)
    –
    Every year, millions of South Asians UNITE to celebrate the spring festival “HOLI.” Brainchild of Manan Singh Katohora (JMD Creations), Akhil Modha (AM Productions) and Saumil Parikh (Band Baaja Entertainment), “BOLLYWOOD KARMA – HOLI in DC” is the first-ever indoor HOLI event with COLORS and GLOW at Washington, D.C.’s premier venue “KARMA DC” – http://dckarma.com/ – with nation’s best “DJ SVP” on Saturday, March 23 (8 p.m. to 3 a.m.). 

    Amid vibrant bursts of color, a troupe of dhol players — a traditional wooden drum played in South Asia — and people dance around and splash each other with powder colored red, yellow, blue and green. The scene depicts the classic Holi traditions of family and friends coming together to laugh, dance and feast.

    HOLI is a spring festival, originating from the Indian subcontinent, celebrated predominantly in India, but has also spread to other areas of Asia and parts of the Western world through the diaspora from the Indian subcontinent, also known as the “festival of colours” or the “festival of love.” The festival signifies the victory of good over evil, the arrival of spring, end of winter and for many, a festive day to meet others, play and laugh, forget and forgive and repair broken relationships. It is also celebrated as a thanksgiving for a good harvest. In recent years, the festival has spread to parts of Europe and North America as a spring celebration of love, frolic and colors.

    Akhil Modha (AM Productions), Manan Singh Katohora (JMD Creations) and  Saumil Parikh (Band Baaja Entertainment) host premiere Bollywood and international events for South Asians and international audiences in the DC/metro area (Virginia, Maryland, Washington, D.C.) – a symbol of peace, brotherhood and unity amidst the current chaos of the world. Men and women dressed up, sing and dance to the popular tunes of Bollywood and international music.

    Food for purchase will be provided by “INDISH” – an exotic Indian restaurant.

    Tickets are on SALE Now: – https://HOLIinDC.eventcombo.com

    For MEDIA passes and additional information, email kamalamehta3@gmail.com or call (202) 656 DESI / (202) 656 3374.

    Source: JMD Creations

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