Art Basel 2022 - Viewing Room

Art Basel 2022

16 - 19 June 2022

Booth L19

For this year's Art Basel edition, Campoli Presti is pleased to present works by Benni Bosetto, Katherine Bradford, Sarah Charlesworth, Liz Deschenes, Nick Mauss, Amy Sillman, and Cheyney Thompson.

The presentation reflects the artists' ongoing interest in the conventions and strategies of display while addressing ideas of artistic labour, the role of the body, the politics of looking and contemporary transactions between mediums.

Nick Mauss

Nick Mauss (b. 1980) lives and works in New York. Mauss has formed his work through a finely tuned sensory register, with drawing at the centre of a praxis which otherwise eludes all simple categorizations. Expanding the medium of drawing through multiple registers at the same time, Mauss’ approach to drawing fuses peripatetically to other possible formats, including sculpture, publications, the format of the exhibition, and writing.

Nick Mauss - Ramose, 2022

Nick Mauss

Ramose, 2022

9 panels with reverse glass painting, mirrored

219 x 159 cm / 86.2 x 62.6 inches

Nick Mauss’ reverse glass paintings are the result of an elaborate, delayed process that creates a distance in thinking, making, and perceiving the work, while at the same time maintaining a direct immediacy. Though at first sight the works appear to be painted onto the surface of a mirror, the painting takes place on the reverse side of the glass - under the surface, so to speak. This painted glass is covered in mirror coating, which brings its own reactions so that the finished painting lies within the mirror, not on its surface. The glass picture-plane absorbs the viewer, the space in which it exists, as well as other works within the space, and the changing conditions of light.

Nick Mauss, Ramose, 2022, installation view at Campoli Presti, Paris

In Nick Mauss’ ceramic wall works, the preliminary qualities of a sketch are translated into a constructed material object, creating a passage between anticipation and full realization, invention and variation. They are produced at Gatti, Faenza, known for their collaboration with exponents of the Futurist movement.

Nick Mauss - Go Under, 2022

Nick Mauss

Go Under, 2022

Glazed ceramic

36 x 64 cm / 13.38 x 25.19 inches

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Nick Mauss - Illuminated Window

Nick Mauss

Illuminated Window

20 November 2017 - 14 January 2018

Triennale di Milano, Milan

Amy Sillman

Amy Sillman (b. 1955) lives and works in New York. Amongst the most distinctive voices in contemporary painting, Amy Sillman paints and draws using innumerable layers, none of which the viewer sees in the final one, but which can be sensed from their active surface.

Over the last three decades, she has interrogated the language and practice of painting, reevaluating its history and extending its reach into emergent mechanical and digital processes. Working in New York, Sillman’s wayward form of abstraction has pushed defiantly at the process-oriented approaches typically associated with the traditions of post-war painting, infusing her work with a modern sensibility, critical self-reflexivity and humour.

Amy Sillman - XL47, 2022

Amy Sillman

XL47, 2022

Acrylic and silkscreen on paper

151.8 x 106 cm / 59.44 x 41.73 inches

Amy Sillman - in : The Milk of Dreams (curated by Cecilia Alemani)

Amy Sillman

in : The Milk of Dreams (curated by Cecilia Alemani)

23 April - 27 November 2022

59th Venice Biennale

Sarah Charlesworth

Sarah Charlesworth (1947–2013) is best known as an established figure of the Pictures Generation, as well as a prominent conceptual photographer of the 1970s and 1980s. Charlesworth’s influential body of work deconstructs the conventions of photography and establishes the medium’s centrality in our perception of the world. Charlesworth stages volatile worlds, isolating objects on monochrome backgrounds to reveal the constructed nature of visual culture and question systems of image distribution.

Sarah Charlesworth - Bowl and Column, 1986 Enquire

Sarah Charlesworth

Bowl and Column, 1986

Cibachrome with lacquered wood frame

106.7 x 81.3 cm / 42 x 32 inches each

Edition 4 of 4 + 2 APs

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Ms. Charlesworth had a sense of precision, beauty and mystery all her own, and an eye for clean design that made her images look modern, even if the objects in them were not. Her best pieces have a tendency to appear perfect but simple and then to open inward, spurring you to think through the image and its meanings and effect on you.

Roberta Smith, New York Times

Sarah Charlesworth - Doubleworld (Solo exhibition)

Sarah Charlesworth

Doubleworld (Solo exhibition)

New Museum, New York

24 June - 20 September 2015

Cheyney Thompson

Cheyney Thompson (b. 1975) lives and works in New York. His new series of Displacement paintings posits each canvas’s ground as a touch-sensitive surface. The works adopt a uniform structure of five millimeter square black marks painted in a gridded pattern atop a white ground. Before the paint is dry, Thompson deploys an assortment of custom silicone tools against the surface, forcing the wet squares out of place. He adds no new material, but rather subjects the existing marks to this process of reorganisation. The resulting transformations appear as extensions of squares into lines, glyph-like forms, and sweeping, sinuous fields of paint. Each painting has become a record of the tools’ interaction with the surface: the stops and starts, the kinetic limits of Thompson’s body and the entropic movement of the order of painted squares into noise. But, they are also pictures, as this play of ruptures and conjured forms has been frozen into an unsettled pictorial field, still with the trappings of figure, ground, composition, and space.

Cheyney Thompson - Displacement (273 * 207, 4), 2021

Cheyney Thompson

Displacement (273 * 207, 4), 2021

Oil and acrylic on linen

273 x 207 cm / 107.5 x 81.5 inches

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Cheyney Thompson - L'écorché (solo exhibition)

Cheyney Thompson

L'écorché (solo exhibition)

18 October - 18 December 2021

Campoli Presti Paris

Liz Deschenes

Liz Deschenes (b. 1966) lives and works in New York. Since the early 1990’s, she has produced a body of work that emancipates photography from its conventional definition as a document and explores the material condition of the medium and its processes. Making use of the medium’s most elemental aspects, namely paper, light, and chemicals, Deschenes creates shifting surfaces that function as sculptural or architectural rather than photographic objects.

Liz Deschenes - Untitled (Abbott 1925), 2020

Liz Deschenes

Untitled (Abbott 1925), 2020

Silver-toned silver gelatin photogram mounted on aluminium, framed

161.7 x 120.3 cm / 63.7 x 47.4 inches

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Photography is posed here not as a statement but as a question. Deschenes’s works are not simply about photography’s past, despite their looking back to Fox Talbot, Niépce, and Daguerre. They look also to the present conditions of the photograph as an object in a state of flux and interrogation. Deschenes insistence on the slow exposure of her photograms stands in stark contrast to the production of the digital image, drawing attention instead to the evidence, and occasional errors, that the handmade work contains.

Jo Applin, Artforum

Liz Deschenes - Untitled (Abbott 1925), 2020

Liz Deschenes

Untitled (Abbott 1925), 2020

Installation view at Campoli Presti, Paris

Katherine Bradford

Katherine Bradford (b. 1942) lives and works in New York. Interacting with increasingly segmented, abstract backgrounds, the figures in Bradford’s paintings address constructed social roles, like the archetypical figure of the mother, through incongruous, dream-like scenes. Bradford creates her figures with elementary painterly marks, often lacking detail or facial feature that would allow to assign a gender identity. Although charged with social interactions shifting between domination and agency, her groups of people exist in collective fluidity, in an intangible atmosphere where bodies interweave and dissolve.

Katherine Bradford - First Light of Day, 2022

Katherine Bradford

First Light of Day, 2022

Acrylic on canvas

182.88 x 152.4 cm / 72 x 60 inches

Katherine Bradford - Legs and Stripes (Solo exhibition)

Katherine Bradford

Legs and Stripes (Solo exhibition)

31 May - 27 July 2019

Campoli Presti, London

Benni Bosetto

Benni Bosetto (b. 1987), lives and works in Milan. Her work combining drawing, sculpture, installation and performance always involves the body and its gesture. Her artistic practice is based on the superposition of fragmented narratives from anthropology, religion, popular beliefs and art history. Her research draws in particular on the study of ancient and contemporary healing rituals, and on the states of semi-consciousness specific to meditation and sleep. Bosetto creates open-ended visual narratives in which the gaze wanders from one scene to another without ever focusing on a specific point.

Benni Bosetto - "Do not be afraid to disappear", 2021

Benni Bosetto

"Do not be afraid to disappear", 2021

Pencil on silk, fabric, wadding, wood, iron

80 x 55 x 4 cm / 31.49 x 21.65 x 1.57 inches

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"For several years, Benni Bosetto has been questioning the nature of identity, placing the body as the epicenter of her investigation. From practices of fabrication of the self present in ancient and contemporary rituals, to states of semi-consciousness implemented in meditation and sleep, up to the observation of matter as a witness of invisible transformations, the artist has explored the possibilities of a renewed relationship with ourselves and with reality in order to go beyond the usual methods of knowledge."

Caterina Molteni

“The cannibal solar storm could come very soon” (scepter with parasites and ears), 2021, detail

Benni Bosetto - “The cannibal solar storm could come very soon” (scepter with parasites and ears), 2021

Benni Bosetto

“The cannibal solar storm could come very soon” (scepter with parasites and ears), 2021

Bronze, iron and steel cables

87 x 30 x 7 cm / 34.25 x 11.81 x 2.75 inches

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Benni Bosetto - Tête en l'air (solo exhibition)

Benni Bosetto

Tête en l'air (solo exhibition)

12 February - 26 March 2022

Campoli Presti Paris

Benni Bosetto - “Earth risk of global blackouts and more“ (Jewel 1) , 2021

Benni Bosetto

“Earth risk of global blackouts and more“ (Jewel 1) , 2021

Bronze, iron and steel cables

78 x 6 x 2 cm / 30.70 x 2.36 x 0.78 inches

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Benni Bosetto - Anima, 2020

Benni Bosetto

Anima, 2020

FUORI, Quadriennale d'Arte di Roma, 2020

Please note that the availability of the works might be subject to change without prior notice. For enquiries please contact berenice@campolipresti.com