Art Basel 2022 - Viewing Room
Art Basel 2022
16 - 19 June 2022
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 (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’ 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.
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.
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.
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 - Doubleworld (Solo exhibition)
Doubleworld (Solo exhibition)
New Museum, New York
24 June - 20 September 2015
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.
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
Untitled (Abbott 1925), 2020
Silver-toned silver gelatin photogram mounted on aluminium, framed
161.7 x 120.3 cm / 63.7 x 47.4 inchesEnquire
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.
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
"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 inchesEnquire
Benni Bosetto - “The cannibal solar storm could come very soon” (scepter with parasites and ears), 2021
“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 inchesEnquire
Benni Bosetto - “Earth risk of global blackouts and more“ (Jewel 1) , 2021
“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 inchesEnquire
Please note that the availability of the works might be subject to change without prior notice. For enquiries please contact email@example.com