LISTE 2019

Wir freuen uns sehr, Sie auf der diesjährigen Ausgabe der LISTE willkom- men zu heissen.

Ihr LISTE Team

We are delighted to welcome you to this year’s edition of LISTE.

Your LISTE Team

von links oben nach rechts unten / from top left to bottom right:Hester Koper, Joanna Kamm, Tina Stork, Ludovica Parenti, Fabian Nichele, Otto Bonnen

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4 Hauptpartner: Ein neues Kapitel beginnt

Main Partner: A New Chapter Begins

6 Editorial: Other Minds

10 Dank / Acknowledgments 18 Alain Servais: Warum ist es wichtig, junge

zeitgenössische Kunst zu sammeln? Alain Servais: Why is it important to

collect young emerging art?

23 Medienpartner / Media Partners

24 Inserate Ausstellungen Advertisements Exhibitions

Sondergäste / Special Guests56 HeK (House of Electronic Arts Basel)58 Kaskadenkondensator, Basel60 Spike, Wien / Berlin

62 Kunstpreis / Art Prize: Helvetia Versicherungen, Basel

Inhalt / Content

64 Joinery65 Joinery: Spike Forum67 Joinery: Gallery Video & Performance

Programme

74 Zeitschriften / Magazines

78 Galerien / Galleries A– Z

234 Künstlerliste / Artist List

237 Inserate / Advertisements

256 Messeinformationen / Fair Information

BASEL – GENEVA – ZURICH

WWW.GUTZWILLER.CH

egwuBANQUIERS

MEMBER OF THE SWISS PRIVATE BANKERS ASSOCIATION

Peter Handschin Stéphane Gutzwiller François Gutzwiller Lorenz von Habsburg

20 YEARS MAIN PARTNER

160053 Kat Liste 21 160x215 EN 28.04.16 11:39 Seite 1

BASEL – GENEVA – ZURICH

WWW.GUTZWILLER.CH

egwuBANQUIERS

MEMBER OF THE SWISS PRIVATE BANKERS ASSOCIATION

Peter Handschin Stéphane Gutzwiller François Gutzwiller Lorenz von Habsburg

20 YEARS MAIN PARTNER

160053 Kat Liste 21 160x215 EN 28.04.16 11:39 Seite 1

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Mit der 24. LISTE findet ein Neubeginn statt. Die LISTE wurde auf Wunsch von Peter Bläuer in eine Stiftung integriert, umgesetzt wurde dies mit der Christoph Merian Stiftung. Wir hätten uns nichts Besseres wünschen können. Der Stiftungs-rat wurde mit engagierten Persönlichkeiten aus Basel und der Schweiz zusammen- gesetzt. Dieser hat eine Findungskommis-sion berufen, die für die Besetzung der Leitung zuständig war.

Joanna Kamm ist die neue Direktorin der Liste. Wir gratulieren ihr ganz herzlich zu ihrer Wahl und wünschen ihr nur das Allerbeste für die Zukunft. Peter Bläuer ist erleichtert und sehr zuversichtlich, dass Joanna Kamm die LISTE in einem guten Geist weiterführen wird. Wir als langjährige Partner der LISTE und traditionelle Banquiers haben immer an Erneuerung und Neuanfänge mit dem nötigen Respekt für Erreichtes geglaubt. Dies erhält jung.

Wir freuen uns auf die diesjährige LISTE, mit ihrer beeindruckenden Anzahl neuer Galerien, die viele Künstler und Künstlerinnen zeigen werden, von denen wir noch nichts oder wenig gehört haben. Es wird ein Anlass voller Entdeckungen und Überraschungen werden. Wir hoffen dass auch in diesem Jahr viele Besucher den Werkraum Warteck pp besuchen werden. Basel ist wiederum eine Woche lang Kunst Weltstadt mit einer Vielfalt von Aktivitäten auf höchstem Niveau. Dies ist inspirierend und anspornend für alle Teilnehmer und Mitstreiter und somit auch für uns.

Wir wünschen Joanna Kamm, ihrem Team und den Galeristen eine erfolgreiche LISTE.

Ihre François und Stéphane Gutzwiller, Lorenz von Habsburg und Peter Handschin

With the 24th edition of LISTE, we welcome a new beginning. At the request of Peter Bläuer, LISTE has been integrated into a foundation, implemented together with the Christoph Merian Foundation, and we could not have asked for anything better. The members of the new Board of Trustees are dedicated individuals from Basel as well as other regions of Switzerland and last year they established a selection committee responsible for appointing the fair’s new director: Joanna Kamm.

We warmly congratulate Joanna Kamm for her new position and wish her all the best for the future. Peter Bläuer is relieved to have her as LISTE’s new director and is con fident that she will continue to lead the fair in an exciting direction. As long-time partners of LISTE and traditional banquiers, we have always believed in innovation and renewal, while simultaneously paying all due respect to previous achievements. It is this process that preserves youth.

With its impressive number of new galler - ies that will exhibit works by many artists who we have heard little or nothing about, we look forward to this year’s LISTE which will surely be an occasion full of dis-coveries and surprises. We hope many visitors will join us at Werkraum Warteck pp, as Basel once again becomes an inter-national art destination for a week filled with a variety of programmes of the highest level. It is inspiring for participants, pro- fessionals and visitors, and thus also for us.

We wish Joanna Kamm, her team and the gallerists a successful LISTE 2019.

Sincerely yours,François and Stéphane Gutzwiller, Lorenz von Habsburg and Peter Handschin

Ein neues Kapitel beginnt

A New Chapter Begins

EditorialOther Minds

Herzlich willkommen zur LISTE – Art Fair Basel.

Als ich vor ein paar Wochen die Katalog-abbildungen durchsah, blickten mich auffällig viele eigenwillig anmutende Wesen an. Manche schienen aus einer Monster-erzählung entsprungen, andere einem Fantasy-Fiction Film oder einer Geisterwelt und dazwischen Abbildungen von Menschen in veränderten Zuständen der De- und Neu-konstruktion bis hin zur Abstraktion. Ge formt wurden sie mit klassischen Mate-rialien und Medien ebenso wie mit den neuesten Technologien.

In einer Welt, in der Unsicherheit das vor-herrschende Gefühl ist, treiben die Künst-ler*innen dieses auf die Spitze, be völkern sie mit menschlichen und nicht-menschlichen Wesen, deren Identität, Ge schlecht und Herkunft ungewiss ist. Es sind Kreaturen, die wir so dringend brauchen, weil wir sie nicht verstehen, weil sie Unsicherheit und Angst vor dem Unbe kannten bedeuten. Diesem immateriellen Zustand verleihen die Künstler*innen Gestalt.

Mary Shelley erschuf Frankensteins Monster, als die nördliche Hemisphäre in

eine nicht erklärbare Dunkelheit ver- sank, die eine Klima- und Hungerkatastro-phe von immensem Ausmass hervorrief und die Menschen an den Weltuntergang glauben lies. Von seiner Veranlagung her guten Wesens, sehnte sich Shelleys Monster da nach, in die Gemeinschaft der Menschen aufgenommen zu werden und wurde erst durch deren Ablehnung und Furcht vor dem Unbekannten bösartig. Es dauerte über hundert Jahre bis die Meteorologen die globale Klimakatastrophe erklären konnten: 1815 brach in Indone- sien der Vulkan Tambora aus, der grösste Vulkanausbruch der Menschheits-geschichte, dessen gigantische Asche- wolke die Sonne für einen Sommer verschwinden liess.

Wir verstehen noch nicht, was die Asche-wolke unserer Zeit ist und wie sie aus - sieht. Es ist die Kunst, die sie für uns speku-lativ sichtbar macht. Damit greife ich nur eine Tendenz von vielen auf, die es auf der LISTE zu entdecken gibt. Es ist nicht ent scheidend, ob die Kunst wesenhaft, abstrakt oder dokumentarisch ist, ob sie konkrete urbane Zustände oder fantas-tische Reiche erforscht, denn es geht um

Joanna KammDirektorin LISTE – Art Fair Basel

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Vielfalt und die Kraft, die Kunst und Kultur im Allgemeinen hat – ganz besonders dann, wenn die Welt sich in einer Krise befindet. Diese als Chance zu sehen, um neue Denkweisen zu erschaffen, ist das nicht immer schön verpackte Geschenk, das uns die Künstler*innen überreichen.

Ohne die Galerien, die mit grosser Risikobereitschaft das Unbekannte auf-spüren, oft ohne Rückversicherung Künstler*innen ihre erste Einzelausstellung ermöglichen und deren Kunst auf Messen einem internationalen Publikum vorstellen, blieben viele Künstler*innen unentdeckt. Durch ihren Einsatz können wir Kunst sehen, die nicht nur die Gegenwart beschreibt, sondern diese herstellt – mit neuen Ästhe-tiken, Medien und Werten. Lebt man da- mit, führt es zu einer reichhaltigeren, ander-en Vorstellung von der Welt.

Dies gilt auch für unsere diesjährigen Sondergäste Spike Art Magazine, HeK und Kaskadenkondensator, die auf unter-schiedlichen Plattformen aktuelle, künstler-ische Positionen zur Diskussion stellen, sowie für die Helvetia Versicherungen, die mit ihrem Kunstpreis jedes Jahr einem

Absolventen einer Schweizer Kunsthoch-schule Sichtbarkeit verschafft.

Um bei dem vielen Neuen nicht den Überblick zu verlieren und tiefere Einblicke in die aktuellen Themen des Kunstdiskurses zu ermöglichen, haben wir die Joinery initiiert, für die Spike eine Gesprächsreihe zu neuen künstlerischen Strategien zu- sammengestellt hat. In der Joinery wird ausserdem ein vielfältiges Video- und Performanceprogramm von Künstler*innen der Galerien zu sehen sein, welches eine Erweiterung der am Stand ausgestellten Arbeiten ist.

Mein besonderer Dank geht an die Aus-steller*innen und Künstler*innen.

Ihnen allen wünsche ich eine inspirie- rende Zeit mit vielen Entdeckungen auf der LISTE 2019.

Herzliche Grüsse,Joanna Kamm

EditorialOther Minds

Welcome to LISTE – Art Fair Basel.

When I looked through the catalogue images a few weeks ago, I was struck by a large number of strange-looking crea-tures. Some seemed to come from a nar- rative about monsters, others from a fantasy film or ghost world, and in between were images of human beings in altered states of (de)construction and abstraction. They were all formed with classical materials and media as well as with the latest technologies.

In a world where uncertainty is the dominant feeling, artists take it to the ex-treme, populating the universe with human and non-human beings whose identities, genders and origins are undefined. They are creatures we so desperately need because we do not understand them, because they embody insecurity and fear of the unknown. Artists give shape to these immaterial states.

Mary Shelley created Frankenstein’s monster when the northern hemisphere sank into an inexplicable darkness that caused an immense catastrophe in

regard to its climate and food supply; this also made people believe in the end of the world. Good in disposition, Frankenstein’s monster longed to be accepted by the human community and became vicious only because of their rejection and fear of the unknown. Over a hundred years later, meteorologists could finally explain the glo- b al catastrophe: In 1815, Mount Tambora had erupted in Indonesia – one of the most powerful volcanic explosions in human history – and its gigantic ash cloud caused the sun to disappear for an entire summer.

We do not yet understand what the ash cloud of our time is or what it looks like, but art makes it speculatively visible. With this, I am picking up on just one of many artistic tendencies to be discovered at LISTE. It doesn’t matter whether art is intrinsic, abstract or documentary, whether it explores concrete urban states or fantastical realms, because it’s about diversity and the power of art and culture, especially when the world is in crisis. The power to develop new ways of seeing and thinking is the artists’ gift to us – and it won’t always be delivered in a beautiful package.

Joanna KammDirector LISTE – Art Fair Basel

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Many artists would remain undiscovered without gallerists who are willing to take great risks in tracking down the unknown, and – often without insurance that the mar-ket will embrace the work – enable artists to have their first solo exhibitions and present their art to international audi-ences at fairs. It is through galleries’ commitments that we have the opportunity to see art that not only describes the present but also creates it – with new aesthetics, media and values. Living with this art leads to a richer, different vision of the world.

These thoughts also apply to this year’s special guests Spike Art Magazine, HeK and Kaskadenkondensator, all of whom put current artistic positions up for discus-sion on various platforms, as well as to Helvetia Insurance, which awards an annual prize to help make one graduate of a Swiss art academy more visible.

In order to keep sight of and allow deeper insights into the many evolving topics of contemporary art discourse, LISTE has developed the Joinery, a space for talks, video screenings and performances. For this year’s fair, Spike has organised a series

of discussions on new artistic strategies, while artists from the participating galleries will be included in a diverse video and performance programme, which offers an extension of the works on view at the stands.

My special thanks go to the exhibitors and artists and I wish everyone an inspiring time filled with many discoveries at LISTE 2019.

Warm regards,Joanna Kamm

Dank

Als ich im Oktober letzten Jahres für meine neue grosse Aufgabe nach Basel ge - zogen bin, wurde ich mit einer Offenheit und Herzlichkeit aufgenommen, die seines-gleichen sucht. Ein aussergewöhnlich engagiertes Interesse an Kultur zeichnet die Stadt aus und in der kurzen Zeit habe ich bereits unzählige Menschen ken-nengelernt, deren Begeisterung und Verbundenheit zur LISTE enorm ist. Es gilt vielen zu danken und an dieser Stelle kann ich nur ein paar wenige hervorheben.

Mein ganz besonderer Dank geht an unse-ren langjährigen Hauptpartner E. Gutzwiller & Cie., Banquiers, der mit unschätzbarem Engagement die „Other Minds“ seit vielen Jahren unterstützt. Die Teilhaber der Bank, François Gutzwiller, Stéphane Gutzwiller, Peter Handschin und Lorenz von Habsburg sind einmalige Partner, ohne diese die LISTE schwer denkbar wäre und die mit gros sem Vertrauen mich als neue Direk- torin auf genommen haben.

Die unvergleichbare Atmosphäre und das besondere Erlebnis auf der LISTE ist nur durch den unermüdlichen Einsatz, Ideen- reichtum und die Offenheit für alle Anliegen

des Teams möglich und ich bin Fabian, Hester, Ludovica, Otto und Tina zutiefst dankbar dafür. Es ist magisch, was sie voll-bracht haben.

Der Werkraum Warteck pp und die LISTE sind von Anfang durch die grossartige Bereit schaft der Warteckis, den jungen Galerist*innen und Künstler*innen für die Messewoche ihre Räume zu überlassen, miteinander verbunden. Das „pp“ (perma-nentes Provisorium) steht für Ver ände- rung und Entwicklung und macht es zu dem per fekten Ort für die Messe. Ein ganz grosses Dankeschön.

Für den regen Austausch und das Vertrauen mit gleichzeitiger Unterstützung bei egal welchem Anliegen bin ich der Stiftung zur Förderung für aktuelle Kunst in Basel mehr als dankbar. Insbesondere Urs Gloor, dem Präsidenten der Stiftung, Gabriel Eckenstein, Stiftungsrat, und Nathalie Unternäher, Geschäftsführerin und meine direkte Ansprechperson, danke ich von ganzem Herzen.

Allen Friends of LISTE danke ich sehr für ihre Beiträge, die direkt in die Förderung

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der Galerien fliessen. Der neue Vorstand, bestehend aus Kasia Barbotin-Larrieu, Andreas Siegfried und Patricia Wallentin, hat mit fantastischem Einsatz in den letzten Wochen gewirbelt und viele Men-schen davon überzeugt, wie wichtig es ist junge Kunst mit kleinen und grösseren Beiträgen zu fördern. Ein grosser Dank.

Die Partnerschaft mit Helvetia Ver- sicherungen und ihrem Helvetia Art Prize ist für die LISTE ein spezieller Austausch zwischen jungen Schweizer Preis- träger*innen und den internationalen Künst- ler*innen, die von den Galerien präsentiert werden. Ich danke Andreas Karcher und Nathalie Loch für die tolle Unterstützung und den inspirierenden Einblick in die junge Schweizer Kunstszene.

Marc Spiegler und Andreas Bicker von der Art Basel, Katrin Grögel von der Abtei-lung Kultur Basel-Stadt, Elena Filipovic, Renate Wagner, Beatrice Hatebur und Martin Hatebur von der Kunsthalle Basel, Sabine Himmelsbach und Boris Magrini vom HeK, Søren Grammel vom Museum für Gegenwartskunst, Ines Goldbach vom Kunsthaus Baselland, Philippe Bischof,

Marianne Burki, Jelena Delic und Patrick Gosatti von Pro Helvetia und Chus Martínez vom Institut Kunst danke ich sehr für das Interesse an der LISTE und das immer off- ene Ohr für meine Ideen. Maja Oeri vom Schaulager, Sam Keller von der Fondation Beyeler, Roland Wetzel vom Tinguely Museum und Andreas Beck vom Theater Basel danke ich für ihr herzliches Will- kommen, Olivier von Schulthess für die gros- szügige Unterstützung und Alain Servais für den inspirierenden Katalogessay und den Austausch, den wir darüber hatten.

Ganz besonders möchte ich an dieser Stelle einem Menschen danken, dem nicht nur ich sehr verbunden bin, sondern viele Generationen von Galerist*innen, Künstler*innen und LISTE Besucher*innen: mit seiner Anteilnahme für meine Fragen und Sorgen und seinem enormen Vertrauen in meine Ideen habe ich von Peter Bläuer eine Form von Unterstützung erhalten, die ich bisher so nicht kannte.

Danke.

Joanna Kamm

Acknowledgments

When I moved to Basel last October for my new position as LISTE’s director, I was welcomed with an openness and warmth that was second to none. The city is characterised by its exceptional commit-ment to culture and in this short time I have already met countless people who share an enormous enthusiasm for and attach ment to LISTE. There are many people I wish to thank and at this point I can only highlight a few.

My very special thanks go to our main part-ner of many years, E. Gutzwiller & Cie, Banquiers, which has been supporting these

“Other Minds” with invaluable com mit ment. The bank’s partners – François Gutzwiller, Stéphane Gutzwiller, Peter Handschin and Lorenz von Habsburg – have accepted me as the new director with great confidence and it would be difficult to ima-gine LISTE without them.

The incomparable atmosphere and special experiences to be had at the fair are only achieved with the team’s un- tiring commitment, wealth of ideas and open- ness to all questions and concerns. For this I am deeply grateful to Fabian,

Hester, Ludovica, Otto and Tina. What they have accomplished is magical.

Werkraum Warteck pp and LISTE have been connected from the very beginning due to the Warteckies’ great willingness to vacate their rooms and lend them to our young gallerists and artists for the week of the fair. The “pp” (permanent provisional) stands for change and development, making it the perfect place for LISTE. A very big thank you.

I am more than grateful to the Stiftung zur Förderung für aktuelle Kunst in Basel (Foundation for the Promotion of Contempo-rary Art in Basel) for our lively exchanges and their trust and support in all matters. In particular, I would like to thank Urs Gloor (President of the Foundation), Gabriel Eckenstein (Board Member) and Nathalie Unternäher (Managing Director and my direct contact person) from the bottom of my heart.

I also wish to extend a big thank you to all Friends of LISTE for their contributions which directly support the galleries and the new Board of Directors: Kasia

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Barbotin-Larrieu, Andreas Siegfried and Patricia Wallentin. Over the past few weeks, they have made a fantastic effort and brought in a number of new members by spreading the message of how impor- tant it is to support young art.

For LISTE, the partnership with Helvetia Insurance and its Helvetia Art Prize marks a special exchange between young Swiss prize-winners and international artists presented by galleries. To Andreas Karcher and Nathalie Loch: thank you for the great support and inspiring insight into the young Swiss art scene.

For their interest in LISTE and always keep ing their ears open to my ideas, my sincere thanks go to: Marc Spiegler and Andreas Bicker from Art Basel; Katrin Grögel from the City of Basel’s Culture Department; Elena Filipovic, Renate Wagner, Beatrice Hatebur and Martin Hatebur from Kunst halle Basel; Sabine Himmelsbach and Boris Magrini from HeK; Søren Grammel from the Kunstmuseum Basel; Ines Goldbach from Kunsthaus Baselland; Philippe Bischof, Marianne Burki, Jelena Delic and Patrick

Gosatti from Pro Helvetia; and Chus Martínez from Institut Kunst. I would also like to thank Maja Oeri from Schaulager, Sam Keller from Fondation Beyeler, Roland Wetzel from the Tinguely Museum and Andreas Beck from the Theater Basel for their warm welcome; Olivier von Schulthess for his generous support; and Alain Servais for the inspiring cata- logue essay and the exchange we had sur rounding it.

In particular, I would like to take this opportunity to thank a person to whom not only I am very attached, but also many generations of gallerists, artists and LISTE visitors: Peter Bläuer, whose sympathy for my questions and concerns and enor-mous trust in my ideas have resulted in a form of support that I have never before known.

Thank you.

Joanna Kamm

Des Weiteren bedankt sich das gesamte Team für die grosse Unterstützung und Hilfe derer, die unsere Messe mittragen und realisieren:

Steudler Press, Basel: Thomas Steudler, Philip Hübner – Carhartt, Weil am Rhein: Kevin Reinhart, Edwin Fäh – Globus Basel – Aesop Schweiz: Mariann Krausz, Jennifer Weinert – Vitra – Espadrij: Felix Staeudinger – Claudiabasel: Jiri Oplatek, Nevin Goetschmann – esense: Tom Wespi, Markus Erdmann – oriented.net GmbH – ProIT Informatik AG – CO13 – Daniele Vecchio Lopez – Fröhlicher Treuhand AG – Swiss Art Awards: Léa Fluck – Cahiers D’Artistes: Patrick Gosatti – Gasthof zum Goldenen Sternen, Basel – Blumen Eric, Basel – Warteck Invest AG, Basel – Bau- und Polizeidepartement der Stadt Basel – Abteilung für Kultur, Basel – Basel Tourismus – Museen der Region Basel – Team derArt Basel – Möbeltransport – die Medienpartner*innen – die Ausstel- ler*in nen – das Kommitee – die Sonder- gäste: HeK (Haus der elektronischen Künste Basel), Kaskadenkondensator, Spike Art Magazine – Spike Forum: Rita Vitorelli, Christian Kobald – die Förderer des Spike Forums: Balima Stiftung, Kanton Basel-Stadt Kultur, Migros Kultur prozent, Österreichisches Kulturforum Bern, Olivier Schulthess Collection und weitere private Förder*innen – Noëmie Nichele – Jano Nichele – die Mit arbeiter*innen – die Bauleute – die Be rater*innen – die Bar- und Restaurant betreiber*in nen – die Helfer*innen vor und hinter den Kulissen – die Nachbar*innen – die Freund*innen.

Für den Einsatz in der Kommunikation und Pressearbeit danken wir Jenni Schmitt.

Ihnen allen ein grosses Dankeschön!

Otto Bonnen, Joanna Kamm, Hester Koper, Fabian Nichele, Ludovica Parenti und Tina Stork

AcknowledgmentDankFurthermore, the entire team would like to thank for the great help of those who support and realise our fair:

Steudler Press, Basel: Thomas Steudler, Philip Hübner – Carhartt, Weil am Rhein: Kevin Reinhart, Edwin Fäh – Globus Basel – Aesop Switzerland: Mariann Krausz, Jennifer Weinert – Vitra – Espadrij: Felix Staeudinger – Claudiabasel: Jiri Oplatek, Nevin Goetschmann – esense: Tom Wespi, Markus Erdmann – oriented.net GmbH – ProIT Informatik AG – CO13 – Daniele Vecchio Lopez – Fröhlicher Treuhand AG – Swiss Art Awards: Léa Fluck – Cahiers D’Artistes: Patrick Gosatti – Gasthof zum Goldenen Sternen, Basel – Blumen Eric, Basel – Warteck Invest AG, Basel – Building and Police Department of the City of Basel – Department of Culture, Basel – Basel Tourism – Museums of the Basel region – Art Basel team – Möbeltransport – the media partners – the exhibitors – the committee – the special guests: HeK (House of electronic Arts Basel), Kaskadenkondensator, Spike Art Magazine – Spike Forum: Rita Vitorelli, Christian Kobald – the sponsors of the Spike Forum: Balima Foundation, Kanton Basel-Stadt Kultur, Migros Kulturprozent, Österreichisches Kulturforum Bern, Olivier Schulthess Collection and other private sponsors – Noëmie Nichele – Jano Nichele – the staff – the construction team – the consultants – the bar and restaurant operators – the helpers in front of and behind the scenes – the neighbours – the friends.

We would like to thank Jenni Schmitt for her commitment to communication and press work.

A big thank you to all of you!

Otto Bonnen, Joanna Kamm, Hester Koper, Fabian Nichele, Ludovica Parenti and Tina Stork

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Ausstellungsraum Klingental, BaselBildrausch, BaselBodega zum Strauss, BaselBuchner Bründler AG, BaselCantina Don Camillo, BaselCarhartt, Weil am RheinCartoonmuseum, BaselChrist & Gantenbein, BaselColab Gallery GmbH, Weil am RheinDrivingsounds & arts, BaselEgeler Lutz AG, BaselFondation Beyeler, Riehen / BaselGasthof zum Goldenen Sternen, BaselHaus für Kunst Uri, AltdorfHeK (Haus der elektronischen Künste Basel), Münchenstein / BaselHelvetia Versicherung / Helvetia Art Foyer, BaselHochschule für Gestaltung und Kunst, FHNW, Münchenstein / BaselHochschule Luzern, Design & Kunst, LuzernHotel Krafft BaselHot Lemon, BaselI never Read, Art Book Fair Basel, BaselInnenarchitektur Brigitte Hasler, RiehenKaserne Basel Kunsthalle BaselKunsthalle Bern Kunstmuseum BaselKunstmuseum Bern & Zentrum Paul KleeKunstmuseum Luzern Kunstmuseum Solothurn Kunstmuseum St.GallenKunstmuseum Thun Kunstmuseum Thurgau, WarthLa Kunsthalle MulhouseLuca Selva AG, BaselLüdi Coiffure, BaselMigros Museum für Gegenwartskunst, ZürichStädtische Museen FreiburgMuseum Tinguely, BaselNomad Design & Lifestyle Hotel, BaselPhoto Basel

Einen sehr herzlichen Dank an nach-folgende Unternehmen und Institutionen, die unseren Katalog dank ihrem Inserat finanziell unterstützen.

A very warm thank you to the following firms and institutions whose ads provide financial support for our catalogue.

Pro Innerstadt, BaselRhyschänzli Gruppe, BaselRicola AG, LaufenS AM Schweizerisches Architekturmuseum, BaselSchaulager, MünchensteinStampa Galerie, BaselSwiss Art Awards, BaselVerein Galerien in BaselVideocity BaselWerkraum Warteck pp, BaselWolfcons VAT Refund, Obfelden ZHYoung Art Club – Fondation Beyeler, Basel

Dank Acknowledgment

We consider ourselves very lucky to have such wonderful partners and sponsors.

Wir schätzen uns glücklich, so wunder - bare Partner und Sponsoren zu haben.

Für die hohe Qualität der Druckerzeugnisse und die wertvolle Zusammenarbeit.

For high-quality printing and their invaluable partnership.

AcknowledgmentDank

Für den Apéro, mit dem wir unsere Gäste zur Preview begrüssen können.

For the refreshment we provide our guests when welcoming them to the preview.

Für die hochwertige Bekleidung für unsere Mitarbeiter, die LISTE-Taschen in der aktuellen Jahresfarbe für unsere Besucher und Aussteller und die nützli- chen Geschenke für die Aussteller.

For the high-quality clothing worn by our personnel, the LISTE visitor bags in this year’s colour and the practical gifts for exhibitors and visitors.

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Für die Geschenktasche, mit der die Aus- steller in der anstrengende Messewoche etwas zum Verwöhnen erhalten.

For the gift bag that provides exhibitors a bit of indulgence during the exhausting week of the fair.

Für die besondere Bestuhlung für unsere Galeristen und Gäste.

For the special seating for our gallerists and guests.

Für die sommerliche Ausstattung, die bei einem Besuch zum Rhein für unsere Galeristen nicht fehlen darf.

For the ultimate summer equipment that our galerists shouldn’t lack when visiting the Rhine.

Warum ist es wichtig, junge zeitgenössische Kunst zu sammeln?Alain Servais

Damit ein Prozess andauern kann, muss dieser meiner Meinung nach tief im eigenen Inneren verankert sein. Wenn du etwas für die Gemeinschaft tun möchtest, musst du es zuerst für dich selbst tun.

Warum sollte man junge zeitgenössische Kunst sammeln? In meinem Fall, weil ich dadurch an Orte gelangte, von denen ich nie gedacht hätte sie zu erreichen und es je so geniessen würde, sie zu entdeck- en. Diese Orte sind in gleichem Masse physischer, wie auch mentaler Natur. Kunst brachte mich nach Venedig, Berlin, Turin, Liverpool, Mexico, São Paulo, Warschau, Singapur, Beijing, Dubai, Riga, Buenos Aires, Kochi, und zum ersten Mal in viele weitere Städte. Sie versetze mich auch immer in einen Zustand innerer Gelassen-heit – selbst während meiner Karriere an der Wall Street. Jahre später realisierte ich, dass die Wurzel dieser Gelassenheit in der Fähigkeit der Kunst liegt, mich über meine eigenen Grenzen hinausblicken zu lassen und mir die Ansichten, Lebens- und Sichtweisen anderer näherzubringen. Der äusserst bemerkenswerte, nieder-ländische Schriftsteller und Sammler Han Nefkens beschreibt diese Erfahrung mit den folgenden Worten:

„Wissen Sie, als ich jung war, in Holland, spielte ich dieses kleine Spiel. Ich stellte mir vor, wie ich in den Kopf einer anderen Person schlüpfen konnte, mit ihr nach Hause ging und sehen konnte, wie und was diese Person zu Mittag ass und wie ihr Leben so war. Das alles beobachtete ich aus dem Inneren ihres Kopfes heraus. Und dann wür de ich das Haus in dem Kopf der Person wieder verlassen, um in den eines anderen Menschen zu springen. Diese ganzen Ausflüge fanden komplett in meiner Imagi-nation statt. Heute mache ich das ge-wissermassen immer noch so, wenn ich

durch Kunst in die Köpfe der Künstler*in-nen eindringe und die Welt und das Leben so sehe, wie sie es sehen. Scheinbar hatte ich schon von klein auf ein Verlangen, das Leben durch die Augen anderer Menschen zu sehen, und ich glaube, dass ich genau dadurch zur Kunst fand.” 1 Diese Erfahrungen haben meinen Horizont auf eine unvorstellbare Art und Weise erweitert. Sie erlaubten mir, mich aus meiner Komfortzone heraus zu bewegen, gegen den Strich zu denken, das mich führende Geländer loszulassen und mein Herz anderen zu öffnen. All diese Fähigkeiten waren schon lange bevor ich mich mit Kunst auseinandersetzte vorhanden, die Kunst aber erlaubte es mir, sie weiter zu entwick-eln. Karen and Christian Boros beschrei- ben den merkwürdigen Gedankenprozess zeitgenössischer Kunstsammler*innen meiner Meinung nach besonders treffend:

„Oft sind wir zunächst einmal irritiert, wenn wir Kunst eines uns unbekannten Künstlers sehen. Wir denken, dass sie uns nicht gefällt. Aber dann fragen wir uns warum wir so fühlen; wir versuchen herauszufinden, was das Unbehagen hervorruft. Je tiefer wir dem nachgehen, desto mehr fangen wir an, die Arbeit zu mögen.” 2

Neben dem Sammeln von Kunst aus per-sönlichen Beweggründen, tritt eine weitere Motivation hinzu, die von der in Hong Kong lebenden, pakistanischen Sammlerin Amna Naqvi wie folgt formuliert wird:

„Am Anfang ging alles hauptsächlich um unsere persönliche Erfahrung. Wenn man dann von einem Sammler zu einem Mäzen wird, dominiert die Erfahrung der Betrachter*innen, weil genau die einen antreibt. Auf diese Weise bewegt sich die Sammlung über einen hinaus und auf andere zu, und diese Energie kommt dann wieder auf einen selbst zurück.” 3

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Diese Art und Weise der Beteiligung wird allmählich genauso wichtig wie die Suche selbst und das Gefühl, bedeutsame Kunst bewahren zu wollen, nimmt an Gewicht zu. Es wird zu einer Notwendigkeit.

Ich bin zu der Überzeugung gekom- men, dass bedeutende Künstler*innen Impulsgeber ausserhalb aller Norm sind. Sie senden ihre Signale an die Aussen- welt – und das in einer Frequenz, die nicht jeder unmittelbar empfangen kann. Sammler*in nen sind Rezeptoren aus ser-halb der Norm, die diese Frequenzen empfangen können. Künstler*innen und Sammler*innen sind dadurch einander ergänzende Gegenstücke, die sich ge- genseitig unterstützen, bis die disruptiven Absichten der Künstler*innen auch von einer breiten Masse als wichtig an- erkannt werden können. Die Begegnung zwischen disruptiven Künstler*innen und disruptiven Sammler*innen wird erst durch den Eingriff von Galerist*innen oder Kurator*innen möglich, die als ein un- entbehrliches Sieb durch Tausende von Künstler*innen gehen, von denen nur wenige weiterkommen.

Jedes Mal, wenn ich über den Erwerb eines Werkes nachdenke, stelle ich mir selbst die folgende Frage: Möchte sich irgendjemand dieses Werk in 30 Jahren noch ansehen? Diese Frage hilft mir dabei, die Fülle an verführerischer, aber zweitrangiger Kunst der heutigen Zeit beiseite zu lassen. Diese Frage, so scheint mir, schliesst auch den Kreis vom Sammeln junger zeitgenössischer Kunst aufgrund des mit dem Überschreiten der eigenen Komfortzone verbundenen Vergnügens, sowie der Notwendig- keit, bedeutungsvolle Kunst für die heuti- ge, sowie zukünftige Öffentlichkeit zu bewahren.

Ein letztes Wort zu einer der wichtigsten Obsessionen des zeitgenössischen Kunst-marktes: Geld. Für diejenigen Sammler*in-nen, die ich hier beschreibe, steht Geld nie- mals an erster Stelle. Es ist eher so, dass alle guten Dinge ein gutes Ende haben: Wenn man hart genug daran arbeitet, das eigene Handeln im Bezug auf das was und das warum zu hinterfragen, kann man dafür mit einem grossartigen Auge für Kunst und einer sehr wertvollen Sammlung, die an zukünftige Generationen weitergereicht werden kann, belohnt werden. Noch wich- tiger jedoch ist es, dass die finanzielle Seite letztendlich an Bedeutung verliert, da es die Kunst ist, die das eigene Leben be- reichert haben wird.

— Alain Servais ist ein in Brüssel ansäs- siger Investmentbanker, Unternehmer und meinungsstarker Kunstsammler, dessen Family Servais Collection nach Vereinba rung für die Öffentlichkeit zugänglich ist.

1: Daiga Rudzãte, “I want to be part of this world: An interview with writer and art collector Han Nefkens”, Arterritory, 22 Feb. 2019, http://arterritory.com/en/art_market/collections/8038-i_want_to_be_part_of_this_world

2: “Inside the Boros Bunker,” Christie’s Magazine, special issue “Art & Collecting in Germany,” April 2018

3: Selina Ting, “Ali and Amna Naqvi: Experiential Collecting”, CoBo, 3 Jan. 2019, https://www.cobosocial.com/aficionados/ali-and-amna-naqvi-experiential-collecting/

Why is it important to collect young emerging art?Alain Servais

To make a process last, I believe that it must have an essential anchor inside one-self. If you want to do something for the community properly, you must first do it for yourself.

Why would you want to collect young emerging art? In my case, because doing so brought me to places that I never thought I would reach and that I never thought I would enjoy discovering so much. Those places are as physical as much as they are mental. Art brought me to Venice, Berlin, Turin, Liverpool, Mexico, São Paulo, Warsaw, Singapore, Beijing, Dubai, Riga, Buenos Aires, Kochi, and more for the first time, but art has also always brought me inner serenity, even at the time of my career on Wall Street. Years later I realised that this serenity finds its source in the ability that art gives me to project beyond myself and reach others’ minds, lives and eyes.

The extraordinary Dutch writer and col lec-tor Han Nefkens described this experience with these words:

“You know, when I was young, in Holland, I played a little game. I would imagine that I could slip into the head of another person and then go with this person to his house, see how the person had lunch, what they ate for lunch, what their life was like and observe their life from inside their head. And then I would leave the house with that person and jump from their head into the head of somebody else. I would have all these trips entirely in my imagination. And now, in a way, I’m still doing the same thing, because through art I skip into the head of an artist and see the world and life the way they see it. Apparently, from a very young age I had this strong desire to see life through the eyes of other people, and I think that brought me to art.”

These experiences broadened my hori- zons in an unimaginable way when I allowed myself to be taken outside of my comfort zone, to think outside of my box, to let go of the handrail destined to me, to open my heart to the Other. All of these abilities were inside me before I had looked at art, but art allowed me to push them further. I find the weird thought process of a contempo-rary art collector perfectly described by Karen and Christian Boros: “A lot of times, when we first see work by an artist we don’t know, we’re irritated. We think we dis- like it. But then we ask ourselves why we feel like this; we try to find out what it is that makes us uncomfortable. The more we go into this, the more we start to like it.” But after collecting emerging art for per-sonal reasons, another motivation steps in, which is clearly described by Hong Kong-based Pakistani collector Amna Naqvi:

“In the beginning, it was always mostly about our personal experience. As you grow from being a collector to a patron, it be-comes more about the viewers’ experience, because this is what drives you. So the col lection moves beyond yourself and to others, and that energy comes back to you.” This type of sharing progressively be- comes as important as the hunting, and the feeling of being a caretaker of meaning- ful art gains more importance; it becomes a necessity.

I have come to believe that significant artists are “out-of-the-norm” emitters that send waves about the world surrounding them – or their impressions thereof – on a frequency that not everyone immediately receives. The collector is an out-of- the-norm receptor who can perceive those fre quencies. Artists and collectors are there fore necessary complements, one supporting the other until a greater majority

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recognises the importance of the disruptive artists’ purposes. The encounter between disruptive artists and disrupted collectors is only made possible by the intervention of committed gallerists and curators who act as an indispensable first sieve into which thousands of artists go, with only a few passing through.

Every time I think about acquiring a work of art for a sum representing money, I ask myself the following question: is there a chance that anyone will want to look at this work in 30 years? This question helps me clear out a lot of the seductive but derivative art on display today. It seems to me that this question also closes the circle between collecting emerging art for the challenge and pleasure of being taken out of one’s comfort zone and the necessity of preserving important works of art for both the current public as well as generations to come.

A last word on one of the current art market’s main obsessions: money. For the type of collector I am describing here, money is never at the top of the mind. It is rather that all good things end well: if you work hard enough to question yourself on why and what, you may end up with a great eye and a very valuable collection to pass on to future generations. More impor-tantly, whatever happens on this monetary side will eventually lose significance as art will have enriched your life.

— Alain Servais is a Brussels-based invest-ment banker, entrepreneur and opinionated art collector whose Family Servais Collec-tion is open to the public by appointment.

1: Daiga Rudzãte, “I want to be part of this world: An interview with writer and art collector Han Nefkens”, Arterritory, 22 Feb. 2019, http://arterritory.com/en/art_market/collections/8038-i_want_to_be_part_of_this_world

2: “Inside the Boros Bunker,” Christie’s Magazine, special issue “Art & Collecting in Germany,” April 2018

3: Selina Ting, “Ali and Amna Naqvi: Experiential Collecting”, CoBo, 3 Jan. 2019, https://www.cobosocial.com/aficionados/ali-and-amna-naqvi-experiential-collecting/

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Onlinepartner / Online Partners

Ausstellungsraum Klingental, Basel

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Bildrausch Basel

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Cartoonmuseum Basel

Cartoonmuseum Basel präsentiert—presents

Joann Sfar

Sans début ni fin

6.4.— 11.8.

2019

190221_Cartoon_Joann_Sfar_Liste_140x187.5_2.indd 1 25.02.19 11:08

drivingsounds&arts, Basel

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Fondation Beyeler, Riehen / Basel

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I Never Read Art Book Fair Basel

Helvetia Art Foyer, Basel

Ausstellungsdauer: 6. Juni bis 26. September 2019(ausser 1. August)

Öffnungszeiten:Jeden Donnerstag 16 bis 20 Uhr

Zusätzliche Öffnungszeiten:Während LISTE Art Fair Basel,Donnerstag 13. Juni und Freitag 14. Juni, jeweils 10 bis 14 Uhr

Eintritt frei

Helvetia Art FoyerSteinengraben 25, Basel

helvetia.ch/kunst

Julia Steiner «Borrowed Light».

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HeK (House of Electronic Arts Basel)

09.05. –11.08. 2019

Leben mit künstlicher Intelligenz

Entangled Realities

Kaserne Basel

Mi 12.6.– Sa 15.6.René PulferI Never ReadI Never HearMi 12.6.Ernesto Chahoud, Neal Sugarman, René Pulfer Talk Vinyl: Cover, Production, CollectionDo 13.6.Morena LerabaFr 14.6.I Never Read × Open Air Basel × Echolot Dub System feat. various Vinyl Artists & Bratwurst-SessionFr 14.6.Ernesto Chahoud, DJ RainerFade Out

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Rebecca Horn

Körperphantasien

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Volkshaus BaselRebgasse 12-14

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Swiss Art Awards

2019 11—16 June

Opening 10 June, 7—10 pm Messe Basel, Hall 3

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S AM Schweiz. Architekturmuseum, Basel

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DI : MI : FR : / TUE : WED : FRI :DO : / THU : SA : SO : / SAT : SUN :

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Schaulager, Münchenstein

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During Art Basel, Schaulager offers guided tours through its storage area. Discover Schaulager’s unique concept and see selected works fromthe collection of the Emanuel Hoffmann Foundation.

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11—16 JUNEOpening Hours: 11 am – 6 pm

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13.06. – 16.06.19ART BASEL (HALLE 2.1 / R19)

28.05. – 13.07.19VÉRONIQUE ARNOLDWE ARE THE UNIVERSE

Spalenberg 2, CH-4051 Basel T +41.61.261 7910, F +41.61.261 7919

info@stampa-galerie.ch, www.stampa-galerie.chDi – Fr 12.00 – 18.30 h, Sa 11.00 – 17.00 h

Véronique Arnold / We are the universe, 2018 / Stickerei auf antikem Leinenkleid

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Verein Galerien in Basel

VON BARTHA BASEL Kannenfeldplatz 6, T +41.61.322 10 00, www.vonbartha.com11.06. > 27.07. Karim Noureldin: «Equinox» 10.06., 6–9 pm Opening / OPEN HOUSE13.06. > 16.06. Art Basel, 2.0 /  H 12

GRAF & SCHELBLE Spalenvorstadt 14, T +41.61.261 09 11, www.grafschelble.ch25.05. > 28.06. «konstruktiv  – konkret» Bilder und Originalgrafik von Jean Baier, Max Bil l , Jean Gorin, Richard Paul Lohse, Camille Graeser, Nelly Rudin, Anton Stankowski, Shizuko Yoshikawa und anderen10.06., 6–9 pm OPEN HOUSE

L ALEH JUNE Picassoplatz 4, T +41.61.228 77 78, www.lalehjune.com> 16.06. Ph i l i p p e Z u m s t e i n : «Light Shift»10.06., 6–9 pm OPEN HOUSE GISÈLE LINDER Elisabethenstrasse 54, T +41.61.272 83 77, www.galerielinder.ch> 13.07. Serge Hasenböhler: «one and one» /  Chambre jaune: Aurélie Nemours10.06., 6–9 pm OPEN HOUSE13.06. > 16.06 Art Basel, Halle 2.1 /  Stand K17

ANNE MOSSERI-MARLIO Malzgasse 20, T +41. 61.271 71 83, www.annemoma.com 07.06. > 05.07. Minoru Onoda: paintings and works on paper06.06., 18 – 20 h Vernissage10.06., 6–9 pm OPEN HOUSE

SARASIN ART Spalenvorstadt 11, T +41.79.600 29 23, www.sarasinart.ch > 22.06. Martin Kammler   /  Onorio Mansutti: «Gegensätze ziehen sich an»10.06., 6–9 pm OPEN HOUSE

STAMPA Spalenberg 2, T +41.61.261 79 10, www.stampa-galerie.ch28.05. > 13.07. Véronique Arnold: «We Are the Universe»10.06., 6–9 pm OPEN HOUSE13.06. > 16.06. Ar t Basel, Hal le 2.1  /  Stand R 19

DANIEL BL AISE THORENS Aeschenvorstadt 15, T +41.61.271 72 11, www.thorens-gallery.comSee informations for the month of June on www.thorens-gallery.com10.06., 6–9 pm OPEN HOUSE

TONY WUETHRICH Vogesenstrasse 27–29, T +41.61.321 91 92, www.tony-wuethrich.com> 29. 06. Stefan à Wengen: «Obstacles – A Cabinet of Magic Objects»10.06., 6–9 pm OPEN HOUSE

KUNSTHALLE PAL A Z ZO / LIESTAL Poststr. 2, 4410 Liestal, T +41.61.921 50 62, www.palazzo.ch08.06. > 13.10. Carl Spitteler – Imago 100 Jahre Nobelpreis «Geschichtsbilder – Frauenbilder – Spiegelbilder»07. 06., 18 h Vernissage

KUNST-iN-BaSeL.CH VERein GalErien in Basel

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Colab Gallery, Weil am Rhein

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International selection of Urban Contemporary Art on 300 sqmCOLAB GALLERY

15 min from Art Basel (Tram 8 / Dreiländerbrücke)

La Kunsthalle Mulhouse

june 6 — august 25 2019

Opening hours during art Basel 2019

11-13 june 10 am – 6 pm 14 june 10 am – 10 pm 15-16 june 2 – 6 pm

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Kunstmuseum Luzern

06.07. 13.10. 2019

TURNERDAS MEER UND DIE ALPEN

Joseph Mallord William Turner, The Blue Rigi, Sunrise, 1842, Aquarell auf Papier, 29.7×45 cm, © Tate, London, 2019

Kunstmuseum Solothurn

Kunstmuseum St. Gallen

ALEX HANIMANN Same but different

8. Juni bis 1. September 2019

Kunstmuseum Thun

Kunstmuseum Thurgau

Till Velten, Petra, Videostill (Detail), 2018 www.kunstmuseum.ch

Till Velten –La condition humaineBis 27. Oktober 2019

Ins_LISTE-Katalog_RZ_05042019_ohne Beschnitt

Haus für Kunst Uri

15. Juni bis 18. August 2019

VernissageSamstag, 15. Juni, 17.00 UhrPerformance um 17.30 Uhr

Buchvernissage der Monografie und Gespräch mit der Künstlerin Sonntag, 18. August, 11 UhrKAROLINE SCHREIBER und BARBARA ZÜRCHER

HAUS FÜR KUNST URI Herrengasse 2, 6460 AltdorfDo/Fr 14 – 18 Uhr, Sa/So 11 – 17 Uhr041 870 29 29www.hausfuerkunsturi.ch

KAROLINE SCHREIBERRÄUMT AUF

Migros Museum, Zürich

Limmatstrasse 270 CH–8005 Zurich migrosmuseum.ch migros-culture-percentage.ch

AN INSTITUTION OF THE MIGROS CULTURE PERCENTAGE

STEPHEN WILLATS Languages of Dissent25.05 – 18.08 2019

United by AIDS – An Exhibition about Loss, Remembrance, Activism and Art in Response to HIV / AIDS31.08 – 10.11 2019

LILY VAN DER S T O K K E R 30.11 2019 – 23.02 2020

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Elisabeth CaravellaHowto, 2014Video 25'

Dries DepoorterJaywalking Frames, 2018Digital prints22.5 × 16.5 cm each Commissioned by MUPhoto by Boudewijn Bollmann

HeK (House of Electronic Arts Basel)Sabine HimmelsbachBoris Magrini

Freilager-Platz 94142 Münchenstein / BaselSwitzerland

T +41 613 315 840office @ hek.chwww.hek.ch

HeK (House of Electronic Arts) Sondergast / Special Guest

Shown at LISTE:Elisabeth Caravella, 1986, FRDries Depoorter, 1991, BE

HeK (House of Electronic Arts Basel) is dedicated to digital culture and new art forms of the information age. As a special guest of the LISTE Art Fair, HeK presents an enigmatic video tutorial by French artist Elisabeth Caravella and a series of pictures by Belgian artist Dries Depoorter who has hacked public cameras to take photographs of jaywalkers around the world.

The cinematographic tutorial ‘Howto’ pro duced by the French artist Elisabeth Caravella instructs the viewer on how to create a 3D text with a graphic software program. What appears to be a simple tuto-rial in the tradition of numerous videos on YouTube and other social platforms slowly evolves into a desktop performance, whose purpose becomes increasingly difficult to decipher. The instructive voice-over gives way to a cryptic and elusive sound, while a phantasmagoric figure gradually occupies the screen, until it becomes the main pro-tagonist of the video.

In his series ‘Jaywalking Frames’, the Belgium artist Dries Depoorter combines

topics such as privacy, artificial intelli-gence and surveillance. The series consists of a collection of pictures of pedestrians crossing the road at a red light, which were taken by the artist after he hacked unprotec-ted surveillance cameras on different streets all over the world. The installation displays the framed pictures together with a monitor that shows the functioning of the custom software developed by the artist. Each individual image is for sale and the price is determined by the jaywalking fine that one would pay in the country where the picture was taken. With the difference that the money goes to the artist this time, and not to the authorities.

With different approaches, Caravella and Depoorter discuss the growing autono my and seeming intelligence of technological devices pervading our everyday lives, and the transformation occurring in our society as a result of their implementation.

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Sibel HoradaAn Internal Garden, 2018Installation, Cuttings, jars, clamps and water

Sena BaşözForough, 2018Installation, Digital print on vellum paper, industrial fans

Edge Women GroupThe Other Things, 2018Video and live performance

Kaskadenkondensator Chris Regn

Burgweg 74058 BaselSwitzerland

M +41 78 822 21 57M +41 79 777 82 56

info@kasko.ch www.kasko.ch

Kaskadenkondensator Basel Sondergast / Special Guest

Kaskadenkondensator Basel proudly presents two art initiatives with artists from Bulgaria and Turkey: the artspace DEPO (Istanbul) and AMcontemporary (Plovdiv)The Artspace* Kaskadenkondensator and the Artists*Curator*Collective* Dr. Kuckucks Labrador present with AMcontemporary and DEPO two deeply engaged projects in the contemporary and social practice of art in Bulgaria and Turkey. They present their projects and a choice of artworks at LISTE in the international Field of Art.

AM contemporary focuses on the inter-national exchange of artists from Eastern and western Europe, focus on Bulgaria. The platform is well networked in Switzer-land, Bulgaria, and Germany. The founder is Albena Mihaylova, artist and curator. Artists-participants are: Monika Romenska, Veneta Marinova, Dimitar Genchev, Velizar Dimchev, Lyubomir Krastev, Kaloyan Iliev and Albena Mihaylova, Veneta Marinova, Monika Romenska, Nadia Genova as Edge Women Group.

Depo is a space for arts, culture and critical debate at the city center of Istanbul. Depo’s program primarily focuses on practices which deal with historical and contemporary social issues. Depo will be represented by Gülşah Mursaloğlu and the artists-participants are Sena Başöz, Sibel Horada, Fahrettin Örenli and İlhan, Sayın

www.depoistanbul.netwww.am-contemporary.comwww.drkuckuckslabrador.chwww.kasko.ch

Shown at LISTE:Depo, TRAMcontemporary, BG/CH

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2 / 4 / 1

Exhbition view Unklarheit ist die neue Gewissheit, Unentschiedenheit das neue Urteil, Spike Berlin, 2018

Jan Vorisek Radiators in the Sky, Drone in the Park – Field Recordings and Feedback of the Sun, Tropez, Berlin, 2018

Spike Art MagazineRita Vitorelli

Löwengasse 18/13c1030 ViennaAustriaT +43 1 236 299 5

Rosa-Luxemburg-Str. 4510178 BerlinGermanyT +49 30 2838 6464

spike@spikeartmagazine.comwww.spikeartmagazine.comt

Spike Art MagazineSondergast / Special Guest

The Day Whose End Will Not Be an Evening

Spike is a magazine for contemporary art, founded in 2004 by Rita Vitorelli, and published quarterly. Each issue is dedicated to a theme that places art in the wider context of society, digital culture, philosophy, and fashion. Spike’s curatorial-artistic approach is translated into real space: in the form of conversations, lectures, parties and exhibitions. Spike does not merely reflect on the art world, but it acts as an agent within it.

Spike turns fifteen this year. “The Day Whose End Will Not Be an Evening” is a par-ticipatory installation that gives a sense of the Spike universe – the magazine, the writing, the design, the events and exhi-bitions, the friends and the community. We will draw on moments from the history of the magazine that feel especially relevant today and transform them into something new. There’ll be printed text on things that aren’t paper, printing presses serving as pedestals, illustrations reborn as fashion, Spike Editions for sale, an art fair sound-

track, and drinks shaken and stirred. The installation has its corollary in the Spike Forum of talks and panels curated for the Joinery: The artist as X.

Participants include Tenzing Barshee, Nina Beier, Thom Bettridge / Kurt Woerpel, Flora N. Galowitz, Chris Kraus, Ella Plevin, Dan Solbach, Natasha Stagg, Jan Vorisek, and many others.

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2 / 1 / 4

Helvetia VersicherungenKunstpreis

Steinengraben 414002 BaselSwitzerland

kunst @ helvetia.chwww.helvetia.ch/art

Helvetia VersicherungenKunstpreis / Art Prize

The Helvetia Art Prize for graduates of Swiss colleges of visual arts and media is given annually to a young artist at the start of his career. The encouragement prize includes a monetary award of CHF 15 000 and a curated exhibition at the LISTE. It affirms and expands the insurance group’s longstanding commitment to art production in Switzerland.

Kaspar Ludwig (*1989) holds a Master’s degree in fine arts from the FHNW Academy of Art and Design in Basel. He works in avariety of media to create spaces in which the spectator’s imagination is invited to free itself. Using concise interventions or minor shifts, humour and storytelling, his objects are vessels for immaterial adven-turous journies. In his award-winning work ‘Why should I buy pillows when All I want Is sleep’ he presented a floor and sound installation in which 14 quarry lifting cushions laid on the floor captured the surrounding sound and retransmitted it delayed and amplified. Kaspar Ludwig impressed the jury with this precise spatial installation and by creating a sensitive

experience through ready made objects. Kaspar Ludwig’s work is very promising. The Art Prize aims to make a substantial contribution to promoting his artistic development.

The 2019 Helvetia Art Prize jury consisted of, Ines Goldbach (Kunsthaus Baselland), Olivier Kaeser (freelance curator), Joanna Kamm (LISTE – Art Fair Basel), Andreas Karcher (Helvetia art collection), Nathalie Loch (Helvetia art collection) and Karine Tissot (Centre d’art contempo-rain Yverdon-les-Bains).

Helvetia congratulates the 2019 prize winner Kaspar Ludwig.

Kaspar LudwigWhy should I buy pillows when All I want Is sleep, 2019Installation

NaEE RoBErtsElapsed, 2018video still

A new initiative of LISTE is the Joinery. On the one hand it is a place where galleries can extend their presentations by showing videos and per formances that exceed the limitations of their stands, while on the other hand it is a meeting point and think tank that considers the latest topics in contemporary art discourse. In addition to an exhibition at Druckwerk, this year’s special guest Spike Art Magazine was invited to curate the Spike Forum, a discourse programme that will take place under the theme “The Artist as X: A Series of Conversations on New Artistic Strategies”.

Admission to Spike Forum is free and accessable without a LISTE ticket. All panels held in English.

Joinery

Olivier von Schulthess Collection

As well as further foundations

Balima Stiftung

The Joinery is made possible by the generous support of:

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JoinerySpike ForumTuesday, June 11, 6 pm‘The (Failed) Autonomy of the Artist’Speakers: Ed Fornieles and Omsk Social ClubModerated by Christian Kobald & Rita VitorelliHow can we create structures that maintain the possibility of independent artistic production? What changes when artists set up alternative economic systems so that they don’t have to rely on the existing mechanisms of the art market. It may lead to greater freedom but also creates other forms of dependency: whether on public funding, private donors, or the vagaries of the market in the respective field of business. Are there new financing models that can rival the established ones? How well do they work?

Wednesday, June 12, 6 pm‘The Artist as Creative Director / The Creative Director as Artist’Speakers: Jeanne-Salomé Rochat & Julian Zigerli Moderated by Toke LykkebergWhat is the role of the artist in contemporary corporate culture and the digital platform economy? What does participating in this world say about one’s politics? Many artists keep their position deliberately ambiguous – affirmative and critical at once. We need new tools to under-stand what is happening, where it might lead, and how it will destroy models of identity and habits of thought that were long taken for granted.

Thursday, June 13, 6 pm‘Market Transformations’Speakers: Kei Kreutler and Elie AyacheModerated by Paul FeigelfeldHow can we discuss the entanglements of art, its market as the pinnacle of all markets, and the technologies and media it uses and produces? What are the values – social, political, financial, mathematical – that go into the equations and algorithms that define artistic, collective and capi-tal ist interactions? Where does art end and trade begin? The panel aims to view technologies, finance and art from different angles and a non- human, infrastructural perspective.

— Ed Fornieles is a British artist based in London. His practice spans various mediums, including installation, sculpture, film, performance, and social media, and centers around the subject of the society and culture in the digital age. — Omsk Social Club lives and works in Berlin. Omsk Social Club is constantly observing and ques-tioning the concept of Self, Individualism and the commu nity both in off and online scenarios.— Christian Kobald is a curator and senior editor at Spike Art Magazine— Rita Vitorelli is an artist and the editor-in-chief of Spike Art Magazine

— Jeanne-Salomé Rochat is the creative director behind Novembre magazine.— Julian Zigerli is a Swiss fashion designer based in Zurich. The label is famous for its collabo-rations with artists from all different areas.— Toke Lykkeberg is an art critic, curator, and director of Tranen Contemporary Art Center in Denmark.

— Elie Ayache is CEO of the financial software company ITO 33 and author of various texts on the philosophy of contingent claims and derivatives trading, including “The Blank Swan: The End of Probability” (2010) and “The Medium of Contingency: An Inverse View of the Market” (2015). — Kei Kreutler is a Berlin-based researcher, designer, and creative director of Gnosis, a forecast-ing and information aggregation platform on the Ethereum blockchain. — Paul Feigelfeld is a culture and media scholar and curator. He is currently teaching at the FHNW Basel and Strelka Institute Moscow and is the guest curator of the Vienna Biennial 2019 for “Uncanny Values: Artificial Intelligence & You.”

— Sandra Nedvetskaia is a Moscow-born art deal-er and partner at Khora Contemporary, the first production company focused on creating artworks in VR with contemporary artists.— Nina Roehrs is founder and CEO of Roehrs & Boetsch, a gallery in Zurich devoted to the explo- ration of digitalization and its implications for society. In 2019, the gallery launched CUBE, a virtual reality exhibition concept.— Jakob Kudsk Steensen is a Danish artist based in New York. His work deals with a combination of imagination, technology and ecology, using me-diums such as VR and video installation.The event was made possible with the support of the Olivier von Schulthess Collection

— KJ Freeman is owner and director of Housing, a gallery in New York City. — Chus Martínez is a curator and head of the Institute at the Hochschule für Gestaltung und Kunst in Basel.The event was made possible with the support of the Olivier von Schulthess Collection

— Sandra Mujinga is an interdisciplinary digital artist born in the Democratic Republic of Congo, and currently living and working in Berlin and Oslo. Mujinga’s work engages contemporary digital technologies as an exploration of her subjective experience.

Friday, June 14, 6 pm‘Virtual Reality: Make, Show, Buy’Speakers: Sandra Nedvetskaia, Nina Roehrs and Jakob Kudsk SteensenModerated by Christian KobaldVR has made great inroads into the art world in recent years. Although it is not yet a mature technology, it is one that has attracted tremen-dous attention and investment. Related to this are questions for a new art form: VR art. How are works in this medium designed, exhibited, collected, ar chived, bought and sold? When there is no need for white walls or wall texts, and the visitor becomes an avatar, the art system’s historical dependence on the white cube begins to dissipate.

Saturday, June 15, 7 pm‘Gallery & Artist: New Relations’Speakers: KJ Freeman and further guestsModerated by Chus MartínezThe gap between rich and poor is bigger than it has been for a long time. In art, too, there is the 1% and everyone else. What are feasible survival models for artists today: taking a job on the side, or founding a company? Does the function or job description of a gallerist have to change? What are some possible ways to support art that is not designed for the market? And what can we learn from history that might be useful for today?

Sunday, June 16, 4 pm‘You Are All You Need’ Performance by Sandra MujingaIn Sandra Mujinga’s ‘You Are All You Need’ (2019), two artists who have withdrawn from the public eye reflect on their return, in the aftermath of a seismic event that may have been caused by one of them. The performance negotiates destabilised self-representations, manoeuvres opacities, and investigates how invisible bodies, even when given a visible platform, can be endangered. Mujinga draws connections from the structure of talks and panels to geological events to the politics of representation and self-preservation.

JoinerySpike Forum

66 / 67

JoineryGallery Video & Performance Programme

Super Dakota!Mediengruppe Bitnik(*1976 and *1979, they live in Berlin and Zurich), /Surveillance Chess /, 2012, video, sound, 7'In this work, the hacker duo !Mediengruppe Bitnik re-evaluates surveillance-scapes as part of public space just before the Summer Olympic Games in London in 2012. By manipu lating unen-crypted connections between moni toring cameras and control centres, they replace the real-time image on the monitor with a personal invitation to play chess.

SweetwaterChristopher Aque(*1987, lives in New York), Idling, Super 8 film transferred to 4K video, 2018, 14' (looped)Idling is composed of four hand-held shots of shirtless white men sunbathing alone in Brooklyn’s Prospect Park on weekday afternoons. The shaky footage has been laboriously edited, frame-by-frame, to stabilise the image against a black background – a tender expression of benign desire, albeit a distant, anonymous and voyeuristic one.

Ermes - ErmesNick Bastis(*1985), Pedraza vs. Lomachenko (Camouflage Edit), 2019, video, sound, 59' 45"In this so-called “camouflage edit”, a television broadcast of a recent, major boxing match is treated with machinations common to those used to elude automated copyright detectors, lay er- ing primary information and abstractions that play out separately but in parallel:(what is seen) II (what is understood)A strange pseudo-presence emerges between the perceivable and imperceptible.

IvanAnca Benera & Arnold Estefán(*1977 and *1978, both live in Bucharest), No Shelter From the Storm, 2015, video, sound, 5' 42"The artists wander through a deforested Eastern European landscape while whistling the popular anti-war song “Where have all the flowers gone,” re-adapted by many generations. Forests have historically posed as a retreat in times of war – the artists visualise the surrendering of nature to to day’s all-encompassing condition of (state) violence.

JoineryGallery Video & Performance Programme

CompanyHayden Dunham(*1988, lives in Los Angeles and New York), A New Bottom, 2019, performanceFor Company’s LISTE booth, Dunham has designed an experiential installation of new kinetic sculptures and wall works. These pieces function harmoniously as by-products of a central system constructed by lines of a poem written by the artist. Dunham will perform this poem as part of LISTE’s Joinery program.

PiktogramDaniela and Linda Dostálková(*1979 and *1977, both live in Prague), Quality: Flexibility, 2016, HD video, sound, 3' 25"“Freedom, mobility, individualism, self-determi-nation”. This is the sociologist Pascal Gielen’s definition of the automobile, a private sphere in public space, in motion at high velocities. In this video, the movement of a contortionist re acts to the given space in a luxury car and a voice-over reflects the controlled processes of speech beyond assumed safe space of the car.

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Lucas HirschDorota Gawęda and Eglė Kulbokaitė (*1986 and *1987, both live in Basel), YGRG 14X: Reading with a single hand, 2018, video, sound, 29' 56"This video takes the artists’ ongoing performative project ‘Young Girl Reading Group (YGRG)’ as its point of departure. The experience of collective reading extended into the domain of live per-formance and self-documentation is contextualised in the film, rendering the body and its surroundings as the site of an active and ongoing set of relations.

Galerie Noah KlinkGerrit Frohne-Brinkmann and Paul Spengemann(*1990 and *1987, both live in Hamburg), The inaccessibility of ancient Greece and its impact, 2016, video, sound, 13' 10"One of Frohne-Brinkmann and Spengemann’s first collaborative works, this short film uses the setting of a famed modernist school as a ninth character, staging a rendition of a classical Greek tragedy. By contrasting architecture and lan-guage, the tension between the birth of creative individuals and neoliberal imperatives is confronted.

Arcadia Missa / Sandy BrownPenny Goring(*1962, lives in London), Monitor, 2014–15, video, sound, 17' 58"In 2009 Goring bought her first computer and started uploading image macros. This video is a compilation of the double helix poetry – partly persona, partly autobiographical – created on her NewHive profile.

PIEDRASMónica Heller(*1975, lives in Buenos Aires), OK.012/019, 2012–2019, video, sound, 37'OK.012/019 gathers eight 3D and 2D animation video works. By adapting models and CGI design shared within specific communities, Heller explores the use of professional and amateur software, intermediate between the videogame and its consequent possibilities and creative limitations as the imaginary ones that they offer.

SabotNona Inescu(*1991, lives in Bucharest), Vestigial Structures, 2018, HD video, sound, 6' 38"Vestigial Structures takes its starting point from the concretions that are still considered to be a mystery of nature, a geological curiosity, due to their unusual shapes, textures, sizes and resemblance to man-made objects or fossils. These stones turn the geological and mythological passing of time into solid “portraits”. The video was produced with the support of Frac des Pays de la Loire.

JoineryGallery Video & Performance Programme

blankBronwyn Katz(*1993, lives in Cape Town and Johannesburg), Grond Herinnering, 2015, video, sound, 3' 52"Katz’s Grond Herinnering portrays the artist in performance: dancing, enacting a childhood game with bricks, and “washing” her feet with the soil of the Northern Cape, where she comes from. The three-channel video work is accompanied by an audio track in which she recites a letter written by her grandmother in Afrikaans (Katz’s mother tongue), recalling notions of place or space as lived experience.

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Sariev ContemporaryVikenti Komitski (*1983, lives in Berlin), Lucky Fetish, 2015, video, sound, 54"In a single frame and less than a minute, world history and economy collide. A stylised maneki-neko, also known as a fortune cat, literally hits the cheek of Karl Marx’s gesso bust, a perpetual reminder of dissonance.

Galerie Maria BernheimMiriam Laura Leonardi(*1985, lives in Zurich), MAH00612-16, 2017, video, 93'Since 2013 Leonardi has been building a collection of videos in which she follows women in access-restricted settings, such as fairs, operas, casinos, VIP areas, etc. By filming these strangers in exclusive settings, Leonardi explores the social contracts of space and how the individual responds to them in potentially claustro-phobic situations.

Union PacificCaroline Mesquita(*1989, lives in Paris and Brittany), The Ballad, 2017, video, sound, 29' 3"Mesquita appears alongside her sculptures masquerading as a myriad of characters with diverse costumes and makeup experimentation, challenging our understanding of identity con-struction and representation, oscillating between tenderness and violence, love and vice.

Gregor StaigerShana Moulton(*1976, lives in Santa Barbara), Whispering Pines 10 (Episodes 1–3), 2018, video, soundWhispering Pines is Moulton’s video saga, which she has been developing since 2002. At the centre is Cynthia, Moulton’s filmic alter ego, who inhabits a domestic space strewn with plastic consumer health gadgets and New Age wellness products promising holistic cure and self-improvement, addressing the obsessive quest for perfect health and peace of mind, anxiety and consumerism.

JoineryGallery Video & Performance Programme

PIEDRASLiv Schulman(*1985, lives in Paris), Formal Economy, 2018, performanceIn this 30-minute performance that features a loosely poetic form of speech acts, Schulman thinks among and through a group of sculptures that she is surrounded by, telling stories about various forms of informal economy that exist with-in emotional lives, slowly unravelling an inter- connec tion of informal “conspiracies” and larger formal economies.

MadragoaBuhlebezwe Siwani(*1987, lives in Cape Town and Amsterdam), AmaKhosi, 2018, 4K video, sound, 3' 57"Siwani looks at the intersections between land, its colonisation and its connection to religion. The viewer observes a dance created by followers of the Shembe church – Africa’s best-known independent church that incorporates elements of the Bible. Vast sugar cane fields pose an epic back drop, not least as the epitome of problematic interventions – both natural and economic – by colonisers.

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ROH ProjectsArin Dwihartanto Sunaryo(*1978, lives in Bandung), Ashfall #6, 2016, video, 7' 31" (looped)The video is part of the artist’s ongoing interaction with various volcanoes in Indonesia, which started since Mount Merapi’s eruption in 2013. As each encounter with the ancient moun-tains leaves a unique experience for the artist, Ashfall#6 captures and replays a specific aspect with minimum intervention to its colour, temperature, and pace.

MadeIn GalleryZheng Yuan(*1988, lives in Beijing), A Brief History of China Northwest Airlines, 2018, video, sound, 27' 44"Zheng retrieved the origin and final destination of every aircraft operated by China Northwest Airlines (1989–2003) and reassembled the enter-prise’s scattered archive into a parallel historical narrative. As a failed experiment in the privatisation of state industries, the artist’s work shows how the country’s airspace was opened by the force of government policy.

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EDGARS GLUHOVS, URSINA GYSI, KATRIN HASSLER, DANIEL HERLETH, NINA HOLLENSTEINER, KARL HOLMQVIST, EVA ILLOUZ, INKA MEISSNER, CADY NOLAND, CATHERINE OPIE, LUDOVICA PARENTI, SUSANNE PFEFFER,

STEPHANIE PRETNAR, ESTHER SCHIPPER, BÄRBEL TRAUTWEIN, CINZIA RUGGERI, ELISABETH TAYLOR, HANNAH VILLIGER, THE YOUNG POPE, CAO YU

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0–9 80 80M2 Livia Benavides, Lima A82 A Thousand Plateaus Art Space, Chengdu84 Adams and Ollman, Portland86 Galerie Allen, Paris88 Antenna Space, Shanghai90 Aoyama Meguro, Tokyo92 Arcadia Missa, London B 94 Galerie Bernhard, Zurich96 Galerie Maria Bernheim, Zurich98 blank, Cape Town 100 Bodega, New York C102 CLEARING, New York / Brussels104 Company, New York D 106 Bianca D’Alessandro, Copenhagen108 Dastan’s Basement, Tehran110 Bridget Donahue, New York112 Dürst Britt & Mayhew, The Hague E 114 El Apartamento, Havana116 Emalin, London118 Ermes - Ermes, Vienna F 120 Lars Friedrich, Berlin122 Frutta, Rome / Glasgow G 124 Gianni Manhattan, Vienna126 Ginerva Gambino, Cologne128 Good Weather, North Little Rock130 Green Art Gallery, Dubai132 Gypsum, Cairo H134 High Art, Paris136 Lucas Hirsch, Dusseldorf138 hunt kastner, PragueI140 Ivan, Bucharest J142 Jenny’s, Los Angeles

Galerien / Galleries

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Galerien / Galleries K 144 Galerie Noah Klink, Berlin146 Koppe Astner, Glasgow L148 LambdaLambdaLambda, Pristina / Brussels150 Laveronica arte contemporanea, Modica152 LC Queisser, Tbilisi154 Antoine Levi, Paris156 Lodos, Mexico City158 Lomex, New York M160 MadeIn Gallery, Shanghai162 Madragoa, Lisbon164 Maisterravalbuena, Madrid166 Marcelle Alix, Paris168 Édouard Montassut, Paris170 mor charpentier, Paris172 Mujin-to Production, Tokyo O174 Öktem Aykut, Istanbul P176 Park View / Paul Soto, Los Angeles / Brussels178 PIEDRAS, Buenos Aires180 Piktogram, Warsaw182 PM8, Vigo184 Polansky, Prague / Brno186 Bonny Poon, Paris188 Proyectos Ultravioleta, Guatemala City R190 Raster, Warsaw 192 ROH Projects, Jakarta S194 Sabot, Cluj-Napoca196 Sandwich, Bucharest198 SANDY BROWN, Berlin 200 Sariev Contemporary, Plovdiv / Sofia202 Deborah Schamoni, Munich204 Sé Galeria, São Paulo206 Seventeen, London208 Southard Reid, London210 Gregor Staiger, Zurich

212 Simone Subal Gallery, New York214 Sultana, Paris216 Super Dakota, Brussels218 Sweetwater, Berlin T220 Galerie Joseph Tang, Paris222 The Sunday Painter, London224 Truth and Consequences, Geneva U226 Union Pacific, London V228 Federico Vavassori, Milan230 Veda, Florence W232 Weiss Falk, Basel

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Adán VallecilloHabitante de Calle I (Bogotá), 201846 × 59 cmRecycled air filters

Oscar SantillánSolaris (7PM), 2017Variables of measures, Lens made of sand from the Atacama Desert (6cm in diameter), and a photograph of the same desert taken by means of this lens (inkjet printing, 120 × 110cm)

80M2 Livia BenavidesLivia Benavides

Malecón Pazos 252Barranco 15063, LimaPeru

T +51 1 252 9246M +51 9 9277 9090

galeria80m2@gmail.comwww.liviabenavides.com

80M2 Livia Benavides

Shown at LISTE:Oscar Santillán, 1980, ECAdán Vallecillo, 1977, HN

Represented Artists:Gabriel Acevedo Velarde, PEIosu Aramburu, PEFernando Bryce, PETeresa Burga, PEWilliam Cordova, PESandra Gamarra, PEXimena Garrido-Lecca, PENancy La Rosa, PEGilda Mantilla, USEliana Otta, PEMarco Pando, PE

Rita Ponce de León, PEFátima Rodrigo, PESantiago Roose, PEElena Tejada-Herrera, PEJuan Diego Tobalina, PEJosé Vera Matos, PEOscar Santillán, ECAdán Vallecillo, HNMaya Watanabe, PESergio Zevallos, PEDavid Zink Yi, PE

80M2 Livia Benavides presents art - works that explore the link between land-scape and objects. These objects act as a statement against the conditions that humankind imposes on nature through the industrial process. Oscar Santillán and Adán Vallecillo attempt to empower the landscapes and restore their dignity by returning to them their rightful autonomy.

Adán Vallecillo’s work revolves around the reutilization of industrial waste with social and political history. In his project for LARA 2018, Fósiles, Escalas y Expandibles, he investigated the final destination of waste generated by the Panama Canal. This led him to discover an industrial recollection site for machine parts and waste. Vallecillo then construct-ed minimal drawings and sculptures from the shapes and patterns left by carbon monoxide and oil deterio ration remaining on machine paper filters. Vallecillo inter-venes to form subtle abstractions that try to incite doubt on the apparent neatness of things, as well as reverting a

certain common sense that geometric abstraction tried to establish; that art can be cleansed of its social environment.

On the other hand, Oscar Santillán presents Solaris, a project developed in the Atacama desert. This geographical space is the driest place on Earth, ideal for astro-nomical observation. Santillán took sand from the ground and melted it to create lenses, then used to photograph the desert at different times of the day. This process suggests a landscape looking back to itself, like a subject in introspection. The object is a mean to transform land-scape into an individual. This relates to Andean astronomy, which historically has used bowls with water (water mirrors) as astronomical observatories in which to study the night sky. In the case of Santillán, this idea is applied to the same soil sand as an eye that allows to see the world. This project was also nourished by “Solaris”, the science fiction novel by Stanislaw Lem about a self-conscious planet.

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Xiaoyi ChenBlocs of Monster 2, 2018Giclée Print on Hahnemühle Photo Rag 308g, Ed.5100 × 150cm

Xiaoyi ChenMap: Blocs of evening, 2018Giclée Print on Hahnemühle Photo Rag 308g, Ed.385 × 150cm

A Thousand Plateaus Art SpaceLiu Jie

3–5 South SquareTiexiang Temple RiverfrontShengbang St., High-tech District610041 ChengduChina

T +86 28 8512 6358M +86 18 6028 54000info@1000plateaus.orgwww.1000plateaus.org

A Thousand Plateaus Art Space

Solo show at LISTE:Chen Xiaoyi, 1992, CN

Represented Artists:Rongrong Bi, CNQiulin Chen, CNLi Feng, CNBingyi Feng, CNDuoling He, CNLei Ji, CNLang Li, CNChuanhong Liu, CNWenting Ma, CNMaokun Pang, CNLan Qi, CNHongtao Tu, CN

Chuan Wang, CNJun Wang, CNChen Xiaoyi, CNWenyun Xiong, CNYu Xiong, CNMian Yang, CNShu Yang, CNGuo Yu, CNLiang Zhai, CNXiao Zhang, CNSijin Zou, CN

Xiaoyi Chen was born in Sichuan, China in 1992. She received an MA Photography from London College of Communication in 2014, currently lives and works in Chengdu. Chen’s practice is tied to a natural, oriental aesthetic, influenced by Western abstract art and oriental philosophy. Photography is a personal tool for Chen, used to question broad concepts that mi-grate from the personal to the philosoph ical realm. Her work based on photo graphy but not confined to specific media, focusing on the subtle perceptions of human beings by producing images. And constantly challenge the established logic, perception and imagination to explore the existence itself.

During her residency in the Swiss town of Monthey, Chen discovered large boulders – some the size of houses – hidden in a near-by forest. Rivers of ice transported them down from the mountains over the centuries, and while the glaciers have receded, the boulders have remained. The boulders serve as monuments to the glaciers that once were – containers

of time, made to rest in a place that does not belong to them. Chen photographed them, creating a sensitive, human meditation on the ebb-and-flow of nature and her personal response. Chen’s boulders exist at the edge of light: close to the lamps of the city, shaded by the forest. She cap-tured them at dawn and at twilight, hours when the light is thin and time becomes muddled. The “The stranger… and while I blossomed all alone, the world slum bered” emerged. In its intimacy with the natural world and feeling for the divine, it calls to mind the poetry of the German Romantic Friedrich Hölderlin. It occupies a place of reverence, triggering a reappraisal of the unknown – and unseen – powers of nature.

This time for Xiaoyi’s solo booth at LISTE, she attempts to experiment on some new creations that based on very specific and realistic realm. This is also an opportunity for her to get the result of a process through the transformation of her artistic force.

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Stefanie VictorUntitled (eyes for Geta III), 2017Oxidized brass and bronze, stone, copper tubing9 × 11.5 × 5 cm

Ellen LesperanceAmazonknights. Womonspirit. Womonpower. Glory., 2017Gouache and graphite on paper104 × 75 cm

Adams and OllmanAmy Adams

418 NW 8th AvenuePortland, OR 97209USA

T +1 503 724 0684M +1 215 426 4244

info@adamsandollman.comwww.adamsandollman.com

Adams and Ollman

Shown at LISTE:Ellen Lesperance, 1971, USStefanie Victor, 1982, US

Represented Artists:Jonathan Berger, USKatherine Bradford, USJames Castle, USVaginal Davis, USJoy Feasley, USEllen Lesperance, USJennifer Levonian, USRyan McLaughlin, US

Marlon Mullen, USJoan Nelson, USTodd Norsten, USConny Purtill, USPaul Swenbeck, USStefanie Victor, USBill Walton, US

With a focus on modes of Creative Direct Action deployed by female activists, Ellen Lesperance explores the languages of women’s work, public space, and advo - cacy through the lens of important, yet often overlooked histories. For more than a decade, Lesperance has been involved in archiving ephemera from the Greenham Common Women’s Peace Camp (Berkshire, England, 1981–1999), one of the longest running examples of feminist protest. Greenham Common’s rich archive has long influenced Lesperance, most notably in gridded paintings inspired by images sourced from this archive. Lesperance re c re ates the patterns, colors, and gauge of hand-knit sweaters worn by the women who lived at the camp. The gar-ments communicated the wearer’s ideo logical intentions, and Lesperance’s paintings, carry two functions: to assign valor to the woman who originally wore the sweater and to recruit a new wearer to action. In this way, Lesperance’s work links past events to future actions, while rein -forc ing the notion of the individual body as the site of social and political order.

Stefanie Victor’s small-scale sculptures engage the languages of Minimalism and Geometric Abstraction while achieving a specificity of place and sentiment. The forms she creates can be understood through their carefully chosen materials, structure, scale, and modes of display. They refer to parts of and for bodies, as well as to jewelry, hardware, armor, and every-day objects, inviting a nuanced visual expe -ri ence that extends across multiple categories and expectations. The works exist in a liminal state where neither function nor identity is rigid. Rather, the sculptures serve as quiet monuments to private expe-rience and the work of the studio – the artist’s hands twisting, folding, bending, forming, and shaping materials.

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Trevor YeungMr. Cuddle in the Wind, 2019Pachira, fan, cushion

Galerie Allen Joseph Allen Shea

59, rue de Dunkerque 75009 ParisFrance

T +33 1 45 26 92 33M +33 6 33 72 78 20

joseph@galerieallen.comwww.galerieallen.com

Galerie Allen

Solo show at LISTE:Trevor Yeung, 1988, CN

Represented Artists:Boris Achour, FRLaëtitia Badaut Haussmann, FRLinus Bill + Adrien Horni, CHMaurice Blaussyld, FRCorita Kent, USMia Marfurt, CHAngelica Mesiti, AU

Emmanuel van der Meulen, FRMel O’Callaghan, AUMaxime Rossi, FRColin Snapp, USDaniel Turner, USTrevor Yeung, CN

Trevor Yeung’s practice uses natural bodies and systems as a pretext for describ-ing human processes and relations. He does not use phenomena from the natural world as metaphors in a romantic tradition, rather he projects emotional and intel lec tu -al scenarios on biological substitutes, which he manipulates and alters with a full acceptance of the artificiality of nature. He creates worlds with their own logic, one that is only vaguely allowing the logic of objects, animals or plants he uses to func tion undeterred, imposing his own rules and parameters and staging dramatic sce nar ios that are intimately connected to his own experiences from the human world. The art ists’s own limitations in sociability and the emotional realm are often morphed into elaborate fables in which more than receiv ing satisfaction, the artist perversely continues to enact the failures and im perfec-tions that are his main driving force. – Cosmin Costinas

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Cui JieGeneration Work Chair,，2019 Acrylic and spray paint on canvas, 200 × 160cmCourtesy of the artist and Antenna Space Shanghai

Guan XiaoChicken House, 2019Pigmented brass, dyeing fiberglass, elm, universal screwdriveroverall: 90 (h) cm, shelf: 75 × 90 × 15 cmCourtesy of the artist, Antenna Space Shanghai and Kraupa-Tuskany Zeidler, Berlin. Photo Mareike Tocha

Antenna SpaceSimon Wang

202, 50 Moganshan Rd200060 ShanghaiChina

T +86 21 6256 0182M +86 17 7016 90592

info@antenna-space.comwww.antenna-space.com

Antenna Space

Shown at LISTE:Cui Jie,1983, CNGuan Xiao, 1983, CN

Represented Artists:Dora Budor, CUXinyi Cheng, CNKarsten Fodinger, DECui Jie, CNAllison Katz, CAChuang Liu, CNDing Liu, CNMing Li, CN

Nancy Lupo, USAbbas Nadim, CNShang Wang, CNTsang Wu, USGuan Xiao, CNQu Xu, CNHonglei Yu, CNSiwei Zhou, CN

Cui JieCui Jie graduated from China Academy of Art in 2006, currently lives and works in Shanghai. She has been included in Phaidon Press’s publication Vitamin P3. Her works have been placed into collection by various institution such as Centre Pompidou, Art Institute of Chicago, Astrup Fearnley Museum, Rubell Family Collection and The Kistefos Museum. Recent solo exhibitions include: To Make a Good Chair, Antenna Space, Shanghai, 2019; The Enormous Space, Cui Jie: Maison Fueter, OCAT, Shenzhen, 2018; Latter, Former, Mother’s Tankstation, Dublin, Ireland, 2016; Cui Jie: The Proposals For Old and New Urbanism and Cui Jie, both at Leo Xu Projects, Shanghai, 2014 and 2012. Her works have also been included in many exhibitions, among many others, An Opera for Animals, Para Site, Hong Kong, 2019; Cosmopolis #1.5: Enlarged Intelligence, Centre Pompidou & Mao Jihong Arts Foundation, Chengdu, China, 2018; Long March Project: Building Code Violations III – Special Economic Zone, Guangdong Time Museun, Guangzhou, China, 2018;

FRONT International: Cleveland Triennial for Contemporary Art: An American City, Cleveland, US, 2018; Past Skin, MoMA PS1, New York, 2017; The New Normal: Art and China in 2017, Ullens Center for Contempo-rary Art, Beijing, 2017; Hack Space, curated by Hans Ulrich Obrist and Amira Gad, chi K11 art museum, Shanghai and K11 Art Foundation, Hong Kong, 2016; A Beautiful Disorder, CASS Sculpture Foundation, Chichester, 2016

Guan XiaoGuan Xiao (b. 1983, Chongqing) studied film at the Communication University of China in Beijing. She has since held exhi-bitions at Bonner Kunstverein (2019); Kunst - halle Winterthur (2018); K11 Art Space, Shanghai; ICA, London; CAPC, Bordeaux and Jeu de Paume, Paris (all 2016). Her work has also been presented within signifi - cant group surveys including the 57th Venice Biennale (2017); the 9th Berlin Biennale (2016); 13th Biennale de Lyon (2015) and the New Museum Triennial, New York (2015).

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1 / 4 / 1

Teppei SoutomeUntitled, 2018Acrylic on canvas116 cm × 116 cm

Aoyama MeguroHideki Aoyama

2-30-6 Kamimeguro Meguro1530051, TokyoJapan

T +81 3 3711 4099 info@aoyamameguro.comwww.aoyamameguro.com

Aoyama Meguro

Solo show at LISTE:Teppei Soutome, 1980, JP

Represented Artists:Shinya Aota, JPShuzo Azuchi Gulliver, JPMitsutoshi Hanaga, JPSatoshi Hashimoto, JPHirofumi Isoya, JPChosil Kil, KRLotte Lyon, AT

Euan Macdonald, USHiroaki Morita, JPTatsumi Orimoto, JPKen Sasaki, JPJunya Sato, JPTeppei Soutome, JPKoki Tanaka, JP

This exhibition was made out of multiple media such as posters, photographs, and video works that based on live perfor-mance images of Japanese singer-songwriter Yuta Orisaka. This work was produced in 2018 and the theme was about Watarase Yusuichi in Tochigi Prefecture and Susaki City in Kochi Prefecture, where he visited in the same year as an artist residency.Orisaka’s characteristic style connects with politics, ideologies, disasters and cul-tures that occurred at different times and places. This was an attempt to discuss obli-vion and repeated history and to talk about memories.

Watarase Yusuichi was a vast pool of ponds designed to precipitate and render harmless the mineral poisoning caused by “Ashio Mineral Poison” (1890). The whole area of Yanaka Shimotsuga-gun village was abandoned in 1906 and currently this place is known for good landscape and one of the most popular bird spot. Recently, burning the field is prohibited due to the nuclear accident at the Great East

Japan Earthquake. Also the mineral poison-ing has not been completely detoxified yet. Yuta Orisaka was born in Tottori in 1989. After spending time in Russia and Iran, he is now a singer and songwriter who lives in Chiba. He uses various vocal methods (homie, yodeling, poetry reading, predation, and etc.), jazz and old Japanese (the term used in the middle of the Heian period in about 800). He creates cross-sectional works those are not restricted places and times.

Susaki City is a beautiful port town surrounded by mountains and the sea and there is a beautiful Shinjo River in the center of the city. People in Susaki are not only experienced the Great Nankai Earthquake (1946) and the disasters such as the Great Tsunami (1707). Also the probability of an earthquake with an 8 or 9 Magnitude class earthquake will be occurred in 70 to 80% within the next 30 years. Currently, they are developing a 1500 m breakwater maintenance project that covers the port entrance from east to west.

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0 / 4 / 1

Penny Goringme, me, me, me, 1992Framed pencil and acrylic paint on paper29.7 × 42 cmCourtesy the Artist and Arcadia Missa, London

Penny Goring,My Monsters are terrified of me, 2017Photography: Tim BowditchCourtesy the Artist and Arcadia Missa, London

Arcadia MissaRózsa Farkas

14–16 Brewer St, First FloorLondon W1F 0GUnited Kingdom

M +44 794 780 9753 info@arcadiamissa.comwww.arcadiamissa.com

Arcadia Missa

Solo show at LISTE:Penny Goring, 1962, UK

Represented Artists:Hannah Black, UKPhoebe Collings-James, UKMaja Čule, HRJesse Darling, UKHamishi Farah, AU / SOPenny Goring, UKLewis Hammond, UK

Ann Hirsch, USReba Maybury, UKHannah Quinlan & Rosie Hastings, UK & UKHarry Sanderson, UKAmalia Ulman, AR

Penny Goring is an artist working across mediums. Her work engages with themes such as ‘death, grief, addiction, anger, fear, powerlessness, aging’1 and deals with her past and relationships, as the same objects and images return over and over again: penis-like stumps, conical hat, cuddly ball, trees, red pointy slippers and willowy brunettes who double as Penny and Amelia, an old lover who is now dead2. Goring’s career has been punctuated by long periods of invisibility as she was preoccupied with surviving financially, recovering from an abusive relationship and raising her daughter alone. But she never ceased to make art, on the margins, with materials and techniques that she could easily work with from her home, like collage and sewing; her first exhibition at a commercial gallery occurred recently in November 2016 at Arcadia Missa.

Although Goring’s life and persona are central to her work, her practice is never fully autobiographical: the emotions and feelings conveyed are a calculated

effect, the result of the artist’s skilled use of materials, language and concepts3. While Goring’s artworks come to terms with past traumas and violent characters in her life, they also convey a broader reflection on systemic violence, and in parti-cular, patriarchal violence. As Giulia Smith puts it, ‘they also encapsulate feelings of helplessness and despair triggered by the experience of living a precarious exist-ence as a woman artist, a single mother and a mentally non-normative individual, surviving in a world organised around neoliberal priorities’4.

1: Penny Goring interviewed by Sarah Roselle Kahn, ‘Tower Block 55: A Poem by Penny Goring’, i-D (10 June 2017)

2: ‘Meeting Penny Goring’, Giulia Smith, Arcadia Missa Publications, 2018

3: ‘ Meeting Penny Goring’, Giulia Smith, Arcadia Missa Publications, 2018

4: ‘Meeting Penny Goring’, Giulia Smith, Arcadia Missa Publications, 2018

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Heji ShinSelf-portrait holding a Chihuahua II, 2018Inkjet print on aluminium72.5 × 59.5 cmEdition 3 of 3(+1AP)HS / PH 13

Galerie BernhardChristian Wirtz

Waldmannstrasse 88001 ZurichSwitzerland

T +41 79 771 12 63 info@galeriebernhard.comwww.galeriebernhard.com

Galerie Bernhard

Solo show at LISTE:Heji Shin, 1976, KR / DE

Represented Artists:Matthias Brunner, CHEllie de Verdier, SEAndreas Selg, US / CH

Heji Shin, KR / DETobias Spichtig, CHJan Vorisek, CH

Heji ShinBorn 1976 in Seoul. Lives and works in Berlin and New York.

Selected Exhibitions:2019 Galerie Bernhard, Zürich (forthcoming); 2019 Whitney Biennial, New York; 2019 Kanye, Galerie Buchholz, Berlin; 2018 Kunsthalle Zürich, Zürich; 2018 Babies, MEGA Foundation, Stockholm; 2018 Men Photographing Men, Reena Spaulings, New York; 2017 Processing, Camera Austria, Graz; 2017 A Spaghetti Dress for World Peace, Park View, Los Angeles; 2017 The Love Object, Team Gallery, New York; 2016/17 Real Fine Arts, New York; 2016 #lonelygirl, Galerie Bernhard, Zürich2014 Essential Loneliness, Taylor Macklin, Zürich; 2014 Spain & 42 Street, New York; 2013 The Great Penetrator, Real Fine Arts, New York; 2013; Camp Habibi, together with Julien Ceccaldi, Mathew, Berlin; 2011 The Black Object, Anna Catharina Gebbers, Berlin; 2011 Based in Berlin, Berlin; 2003 White Meat & Sunlight, Harbord & Wiesnowski, Berlin; 2002 Hanayo, Palais de Tokyo, Paris

Selected Editorials & Campaigns:032c, The Wire, Die Zeit Brandeins, TAZ, Die Welt, Spex, Interview Magazine, Another Magazine, Vogue Nippon, Elle Japan, Composite Japan, Ryuku Ishin Japan, Dazed & Confused, The Face, Blau Magazin, Eckhaus Latta

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-1 / 2 / 3

Juan Antonio OlivaresUntitled, 2018Graphite on paper50 × 70 cm

Miriam Laura LeonardiTonsure Nuova, 201812 headbands, plexiglass, acrylic paint15.2 × 15.2 × 61 cm

Galerie Maria Bernheim Limmatstrasse 2578005 ZurichSwitzerland

M +41 79 700 79 28 info@mariabernheim.comwww.mariabernheim.com

Galerie Maria Bernheim

Shown at LISTE:Miriam Laura Leonardi, 1985, DEJuan Antonio Olivares, 1988, PR

Represented Artists:Mitchell Anderson, USManuel Burgener, CHMiriam Laura Leonardi, DEEbecho Muslimova, RUNick Oberthaler, AUJuan Antonio Olivares, PR

Jon Rafman, CAThomas Sauter, CHDenis Savary, CHBailey Scieszka, USKyle Vu-Dunn, USRico Weber, CH

Galerie Maria Bernheim in the context of LISTE 2019 is delighted to introduce a duo project by Swiss artist Miriam Laura Leonardi (b.1985) and American artist Juan Antonio Olivares (b.1988).Juan Antonio Olivares presents a new series of drawings questioning the sight poten - tial of the naked eye. Images coming from the Trappist telescope in Northern Chile are here to depict a black hole which is in itself only perceivable according to the movement of sunlight around it, sole indicator of its existence. The series ‘Fermi Paradox III’ is a variation on a previous sound-sculpture made out of Mediterra-nean shells with a micro-speaker placed inside their cavities. This work is named after the physicist Enrico Fermi, who posed the question in ‘paradox’ format to his students to generate multiple responses in order to never collect one final answer.Leonardi’s most recent production is rooted in historical research on the work of Marcel Duchamp and modernist sculpture. Her new work ‘Tonsure Nuova’ refer en c es Marcel Duchamp’s shaved five-pointed star on the back of his head and Carol Rama’s

drawing ‘Tonsure (Omaggio a Marcel Duchamp)’ which she transforms into sculp-ture, altering the original hairstyle into a hair accessory – shifting the subject over male gazing and misrepresentation of female artists in art history. The series ‘Made’ consists in Basel-like, snow-globes souvenirs, in the shape of hearts and painted monochromatically to lie on their sides on slim pedestals. Leonardi ensures that it is impossible to see what is under the globe and that it remains hidden. The souvenirs only attest to the local presence of the artist, of the possible buyer as well as of the fair itself.

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Sabelo MlangeniBigboy, 2009Hand-printed silver gelatin40 × 30 cm

blankJonathan Garnham

10 Lewin Street, Woodstock7925 Cape TownSouth Africa

T +27 21 462 4276M +27 72 1989 221

info@blankprojects.comwww.blankprojects.com

blank

Shown at LISTE:Igshaan Adams, 1982, ZASabelo Mlangeni, 1980, ZACinga Samson, 1986, ZA

Represented Artists:Igshaan Adams, ZAJan-Henri Booyens, ZAJared Ginsburg, ZABronwyn Katz, ZADorothee Kreutzfeldt, NADonna Kukama, ZATuriya Magadlela, ZAHerman Mbamba, NA

Sabelo Mlangeni, ZAKyle Morland, ZACinga Samson, ZAGerda Scheepers, ZAJames Webb, ZAPedro Wirz, BRBillie Zangewa, MW

Disrupting assumptions of masculinity in the contemporary African context through subtle expressions of identity and gender, the practices of Igshaan Adams, Sabelo Mlangeni, and Cinga Samson share a sensitive approach toward material and process, with a common strand of spirituality running through their work.

Combining aspects of performance, weaving, sculpture and installation that draw upon his upbringing, Igshaan Adams’s practice is an ongoing investiga-tion into hybrid identity, particularly in relation to race and sexuality. The quiet activism of Adams’s work speaks to his experiences of racial, religious and sexual liminality. He uses the material and formal iconographies of Islam and ‘coloured’ culture to develop a more equivocal, pheno-menological approach towards these con cerns and offer a novel, affective view of cultural hybridity.

Working mainly in a black and white format, Sabelo Mlangeni’s photographs have focused on capturing the intimate, everyday

moments of ‘outsider’ communities in both urban and rural South Africa. Largely focused on black youth and society, Mlangeni draws on his own experiences of marginality, challenging the distance that conventionally separates photographer and subject. Developed from film and printed by hand, Mlangeni’s photographs embrace the chance processes inherent in the medium, giving the images an ephemeral quality.

A self-taught artist, Cinga Samson address-es themes of beauty, youth and blackness in figurative oil paintings that depict self- and group portraits. Arranged in traditional compositions, his portraits are set in brood-ing environments that are constructs of real and imagined landscapes: recollections from the artist’s rural upbringing as well as dreams. The uncannily vacant eyes of Samson’s subjects are suggestive of an in ward gaze that is juxtaposed by the literal-ness of their branded clothing, creating a complex vision of black African masculinity and sexual identity.

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Orion MartinPoppies from a Tray, 2018Oil on canvas182.9 × 106.7 cm

Naoki Sutter-ShudoPodium (moons), 2019Wood, enamel, stainless steel, nickel-plated steel, polyester and cotton, foam stress balls35.6 × 35.6 × 19.7 cm

BodegaElyse DerosiaEric Veit

167 Rivington StreetNew York, NY 10002USA

T +1 413 884 4368M +1 413 884 4368

info@bodega-us.orgwww.bodega-us.org

Bodega

Shown at LISTE:Orion Martin, 1988, USNaoki Sutter-Shudo, 1990, FR / JPDena Yago, 1988, US

Represented Artists:Jason Benson, USSam Lipp, UK / USOrion Martin, USAndy Meerow, USAlexandra Noel, USElizabeth Orr, US

Carlos Reyes, USEm Rooney, USAviva Silverman, USNaoki Sutter-Shudo, FR / JPDena Yago, US

Orion Martin (b. 1988, Sonoma, California) lives and works in Los Angeles. His fetish-istic, surreal paintings collage eclectic references to objects that the artist encoun-ters in daily life as well as on the internet, uniting them through his characteristically meticulous depiction. Works often suggest an interest in human bodies, seduc-tiveness vs repulsion, and contemporary modes of design, decoration, and display. Recent presentations of his work include High Art, Paris; Bodega, New York; Bel Ami, Los Angeles; Tanya Leighton, Berlin; Corbett vs Dempsey, Chicago; and The Whitney Museum of American Art, New York.

Naoki Sutter-Shudo (b. 1990, Tokyo, Japan) lives and works in Los Angeles. His prac tice in sculpture and painting explores the interstices of language and culture, often focusing on slippages and doublings of meaning from a humorous and at times sati ri cal perspective. Recent presentations of his work include Crèvecoeur, Paris; Bodega, New York; Freedman Fitzpatrick, Los Angeles; Anonymous Gallery, Mexico City; and XYZ Collective, Tokyo. He has

a forthcoming two-person exhibition with Louise Sartor at Crèvecoeur, Marseille, in August 2019.

Dena Yago (b. 1988, New York, New York) lives and works in New York. Her work, which takes the form of photography, sculp-ture, writing, textiles, and murals, incisively investigates relationships of culture, image, object, and language, examining cultural production and cultural trends. Recent presentations of her work include High Art, Paris; Kunsthal Aarhus, Aarhus, Denmark; Emalin, London; Atlanta Contemporary, Atlanta; Bodega, New York; Bortolami Gallery, New York; Sandy Brown, Berlin; and The Hammer Museum, Los Angeles.

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Hugh Hayden Hangers, 2018sculpted fir with garment rack

Marina Pinsky Dyed Channel, 2016Installation view, Kunsthalle Basel Courtesy of the artist and CLEARING New York / Brussels

CLEARINGOlivier BabinLodovico Corsiniwww.c-l-e-a-r-i-n-g.com

311 Avenue Van Volxem1190 BrusselsBelgiumT +32 2 644 49 11gate@c-l-e-a-r-i-n-g.com

396 Johnson AvenueBrooklyn, NY 11206USAT +1 718 456 0396pip@c-l-e-a-r-i-n-g.com

43 East 78th StreetNew York, NY 10075USAT +1 212 585 4378pip@c-l-e-a-r-i-n-g.com

CLEARING

Shown at LISTE:Hugh Hayden, 1983, USMarina Pinsky, 1986, RU

Represented Artists:Harold Ancart, BEJean-Marie Appriou, FRKorakrit Arunanondchai, THMeriem Bennani, MAHuma Bhabha, PKSebastian Black, USKoenraad Dedobbeleer, BEDaniel Dewar & Grégory Gicquel, UK & FRRyan Foerster, CAAaron Garber-Maikovska, US

Bruno Gironcoli, ATHugh Hayden, USRené Heyvaert, BEMarguerite Humeau, FRZak Kitnick, USCalvin Marcus, USEduardo Paolozzi, UKMarina Pinsky, RULoïc Raguénès, FRLili Reynaud-Dewar, FR

Hugh Hayden (born 1983 in Dallas, TX) lives and works in New York.He received his MFA from Columbia University in 2018.Solo exhibitions of his work have been held at Lisson Gallery, New York; and White Columns, New York. He currently has a solo show at CLEARING Brussels. His work has been featured in group exhibitions at JTT, New York; CLEARING, New York, Brussels; Tanya Bonakdar Gallery, New York; PPOW Gallery, New York; Gavin Brown’s enterprise, New York; Postmasters Gallery, New York; MoMA PS1 Rockaway Beach, New York; Socrates Sculpture Park, New York; and Abrons Art Center, New York.

Marina Pinsky (born 1986 in Moscow, RU) lives and works in Brussels and Berlin.She received her MFA from UCLA in 2012.Solo exhibitions of her work have been held at Kunstverein Göttingen; De Vleeshal, Middelburg; Kunsthalle Basel; LACMA Special Projects, Los Angeles; Parallel, Oaxaca; White Columns, New York; CLEARING Brussels.

Her work has been featured in group exhibitions at S.M.A.K., Ghent; Riga International Biennale of Contemporary Art, Riga; WIELS, Brussels; MoMA, New York; Hammer Museum, Los Angeles; La Biennale de Lyon; and the National Gallery of Kosovo.Marina Pinsky’s work is part of the collec-tion of the MoMA, New York.

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Hayden Dunham, Into one (solid), 2019Glacial water, pea flower, chamomile, pearl, coated mesh, silver, chlorophyll, indigo, shield of light, gold, mineral composition, adhesive, salt, ink, grape seed extract, auto body powder, aluminum bars, coated mesh144.78 × 88.90 cm

CompanySophie MornerTaylor TrabulusElizabeth Lamb

88 Eldridge Street, 5th Floor New York, NY 10002USA

T +1 646 756 4547M +1 310 866 8661

info@companygallery.uswww.companygallery.us

Company

Solo show at LISTE:Hayden Dunham, 1988, US

Represented Artists:Yve Laris Cohen, USHayden Dunham, USJohn Edmonds, USBarbara Hammer, USEJ Hill, US

Jonathan Lyndon Chase, USTroy Michie, USTiona Nekkia McClodden, USRaul de Nieves, MXCajsa von Zeipel, SE

Creating complex visible and invisible systems, as well as discrete objects Hayden Dunham investigates the exchange of information between the hard and soft archi-tectures of building and body. Her works embody ideas of transformation and processes of facilitation, where objects are conditioned by and act on their own indi-vidual and autonomous agencies.

For LISTE, Dunham has designed an experiential installation of new kinetic sculptures and wall works comprised of malleable and ethereal materials – silicon, chlorophyll, glass, steam, sound, perfor-mance, vapor, light, porcelain, metal, silk and DD, a substance created by the artist that appears in liquid and breathing forms. When activated charcoal enters a body it absorbs toxic materials; when bentonite clay comes into contact with skin, it leaches heavy metals through pores. These processes are not visible but they are present. Likewise, Dunham’s work in - volves a sensitive formula that is both con-cealed and alive, as it ruptures and opens in on itself.

Bi-products of a central system con-structed by lines of a poem written by the artist, these pieces are part of a larger visual language that supports movement and emotional presence. Forms and structures communicate with one another, presenting at times as fragments where one is unsure if they are in the process of dismantling or uniting into a single unit. The result is an ecosystem of artworks that asks the viewer to examine their corporeal and cognitive relationships to their ever shifting environment.

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Zoe BarczaLove, Positivity, and DON’T Forget to Take Care of your Health!, 2018Acrylic, vinyl paint and nail polish on cardboard, framed40 × 27 cm (48 × 34 cm framed)

Bianca D’Alessandro Frederiksholms Kanal 28A1220 CopenhagenDenmark

T + 45 22 99 43 01 www.biancadalessandro.com

Bianca D’Alessandro

Shown at LISTE:Zoe Barcza, 1984, CALouis Scherfig, 1989, DK

Represented Artists:Zoe Barcza, CATimothy Furey, IR Lone Haugaard Madsen, DKAmitai Romm, DKJean Marc Routhier, DK

Louis Scherfig, DKRikard Thambert, SELea von Wintzingerode, DEWilly Ørskov, DK

Zoe Barcza (b. 1984) is a Canadian artist based in Stockholm. Recent solo exhibitions include Croy Nielsen, Berlin (2018), Bianca D’Alessandro, Copenhagen (2018), Bonny Poon, Paris (2018), In Extenso Clermont-Ferrand (2017), Ghebaly Gallery, Los Angeles (2016), Loyal Gallery, Stockholm (2016). Recent group exhibitions include Galerie Pact, Paris (2017), Galería Mascota, Mexico City (2017), Kunsthal Charlottenborg, Copenhagen (2017), Team Gallery, New York City (2017), Issues Gallery, Stockholm (2017), Sorbus Gallery, Helsinki (2016), 3236rls, London (2016) and Cooper Cole Gallery, Toronto (2016).

Louis Scherfig (b. 1989) is a Danish artist based in Copenhagen. Previous solo exhibi-tions include Kunsthal Charlottenborg, Copenhagen (2016), Chin’s Push, Los Angeles (2016) and X AND BEYOND, Copenhagen (2015). Recent performances include Gallery Nicolai Wallner, Copenhagen (2018) and Holsterbro Kunstmuseum, Holsterbro (2017). Recent group exhibitions include Bianca D’Alessandro, Copenhagen (2019), Kunsthal Charlottenborg, Copenhagen

(2018), Bikini Space, Basel (2018), Riverside, Bern (2017), One and J Gallery, Seoul (2017), Scandinavian Institute, New York City (2016) and National Gallery of Denmark, Copenhagen (2016). In 2019 the artist will participate in a group exhibition held at Primer, Lyngby.

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Hoda KashihaBird Sings from Orange which is About Majesty, 2019Acrylic and Spray Paint on Canvas180 × 160 cm

Sam SamieePrometheus Unchained Erecting a Monument for a World That Will Never Be, 2019Acrylic on Canvas200 × 193 cm

Dastan’s BasementHormoz Hematian

No. 6, Bidar St., Fereshteh St.1965917753 TehranIran

T +98 21 22023114info@dastangallery.com www.dastan.gallery

Dastan’s Basement

Shown at LISTE:Hoda Kashiha, 1986, IRSam Samiee, 1988, IR

Represented Artists:Fereydoun Ave, IRMimi Amini, IRSadra Baniasadi, IRHabib Farajabadi, IRNariman Farrokhi, IRGhasemi Brothers IRMohammad Hossein Gholamzadeh, IRHoda Kashiha, IRMeghdad Lorpour, IRFarrokh Mahdavi, IR

Mehran Mohajer, IRArdeshir Mohassess, IRAmin Montazeri, IRHouman Mortazavi, IRMilad Mousavi, IRFarah Ossouli, IRPeybak, IRIman Raad, IRSam Samiee, IRNima Zaare Nahandi, IR

For her most recent works, and more specifically “Bird Sings from Orange which is About Majesty”, Hoda Kashiha decided to use digital illustration first and then use classic painting material to paint the same image on canvas. She soon found out that there were differences huge and small between the digital image and the actual painting. She explains: “Sense and texture of colors and little movements of my hand and my brushes made this huge differ-ence. I paint different layers of small moments that convey different feelings and oppositional meanings. These layers can be affected or changed by interaction with each other.” In her recent paintings, Hoda Kashiha seeks to depict time as a force that does not move forward, and in that path, she constantly goes back to work on previous layers in the painting. On this effort, she writes: “This layering technique links me to abstract illusionism and quantum physics – that an object can be moved, changed, or affected without being physically touched. I found the foot step of this idea in traditional eastern minia ture and I try to extend it to my paintings.”

In the new series of his paintings, Sam Samiee introduces a fish standing up - right like a monument as an homage to Felipo de Pisis, the Italian painter who paint-ed many still lives throughout his practice. From his ‘Bedroom Posters’ to ‘Love Got Lost, the Intellect Fell After’, Sam Samiee had produced spatial diorama-like painting installations dealing with symbolizing the maternal into more abstract forms which were called, ‘Gay Prometheus Stealing Lighters from Beautiful Women, Women.’ In the new series, the Gay Prometheus, when unchained from any mountain - top, erects a monument that is a living fish, an impossibility, but a monument for the imaginal realm that is the container for all that the potential of the future contains.

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Jessi ReavesCock Ottoman with Parked Chair, 2018plywood, upholstery foam, vinyl, fabric, trim, paint & Cesca chair81 × 210 × 284 cmphoto by Jason Mandella

Bridget Donahue 99 Bowery, 2nd FloorNew York, NY 10002USA

T +1 646 896 1368 www.bridgetdonahue.nyc

Bridget Donahue

Shown at LISTE:Monique Mouton, 1984, USJessi Reaves, 1986, US Martine Syms, 1988, US

Represented Artists:Lisa Alvarado, USSusan Cianciolo, USLynn Hershman Leeson, USSatoshi Kojima, USMonique Mouton, US

Sondra Perry, USJessi Reaves, USJohn Russell, UKMartine Syms, USMark Van Yetter, US

For LISTE 2019, our booth will focus on a group installation of works by Monique Mouton, Jessi Reaves and Martine Syms. All three artists leave a trace of the hand-wrought in the domestic object, often constructed from reclaimed materials but relating to a daily practice.

Jessi Reaves’s household furniture re as -signs the use value of mid-century, modernist design. Supporting materials, such as raw upholstery foam with black marker measurements, are utilized as the sculpture’s frontal face, bringing people into direct contact with the inside.

Monique Mouton works from an oversized roll of paper, cutting a particularly shaped sheet before beginning a looming, ephemeral watercolor. The framing process fina lizes the piece, creating a vitrine for the otherwise raw painting that carries a trace of pin-holes, pencil marks and erasures.

Martine Syms photographs moments of daily life with her 35mm film camera, printing these personal photographs on

found movie posters. The folded, marked poster paper contextualizes the photo-graphic image as one that is produced by the cultural imagination, as much as by the individual.

These three artists challenge the notion of fact and fiction through the combination of the found and the made. Mouton’s paintings emanate from the studio as well as from the larger world; marks of wear and usage become expressionistic marks, whether inherent to the material or enacted by the hand of the artist. Syms replaces the iconography of the movie star with the personal iconography of the life of an anon ymous girl, transferring these two sta tuses through the weight of a found object. Reaves’s sculpture is the iconoclastic foundation to the booth, incorporating hand-crafted design flourishes into sal vaged, reconstructed chairs. Each artist inserts themselves into a larger historical dialogue that pre-exists their work and will continue after, allowing flaws in material to speak to their particular time and place in the world.

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Alexandre Lavet Eighty-four characters on a wall, 2016 transfer on wall2,7 × 8,6 cm

Lennart Lahuis Roni Horn – Saying Water – 3 excerpts, 2018 water on epoxy floordimensions variable (detail)

Dürst Britt & MayhewJaring Dürst BrittAlexander Mayhew

Van Limburg Stirumstraat 472515 PB The HagueNetherlands

T +31 704 443 639M +31 6 24620663

info@durstbrittmayhew.comwww.durstbrittmayhew.com

Dürst Britt & Mayhew

Shown at LISTE:Lennart Lahuis, 1986, NLAlexandre Lavet, 1988, FR

Represented Artists:Paul Beumer, NL Alex Farrar, UK Willem Hussem, NLJacqueline de Jong, NL Lennart Lahuis, NLAlexandre Lavet, FR

Joseph Montgomery, US Raúl Ortega Ayala, MX Pieter Paul Pothoven, NL Sybren Renema, NL Puck Verkade, NLWieske Wester, NL

Lennart Lahuis and Alexandre Lavet share a strong interest in the fleeting and disposable nature of images and repre-sentation. In order to delay the direct access to visual information their works constantly seem to hover on the verge of ephemer-ality, even disappearance or absence. Their joint presentation engages the viewer to question the fragility of the information we consume. Lahuis thereto employs un - usual techniques such as water on con crete and frottage on denim. Lavet deploys subtle sculptural interventions in what at first sight appear to be empty spaces.

Lennart Lahuis received his BFA from Artez in Zwolle, after which he was a res - i dent at De Ateliers in Amsterdam. Recent solo exhibitions include ‘Constant Escapement’ at Fries Museum, Leeuwarden, ‘Land Slides’ at Princessehof Museum, Leeuwarden, ‘Dead Seconds’ with Willem Oorebeek at Shanaynay, Paris. Recent group exhibitions include ‘On Paper’ at Stedelijk Museum Schiedam, ‘Burn it!’ at Krefelder Kunstverein, and ‘Slow Works’ at Sydney Project Space, Sydney.

In 2015 Lahuis won the Royal Prize for Contemporary Painting. His work is held in private and public collections, including the Fries Museum Leeuwarden, Stedelijk Museum Schiedam, Akzo Nobel Art Foundation, AMC collection and ING collection.

Alexandre Lavet received both his BFA and MFA from the École Supérieure d’Art in Clermont-Ferrand. Recent solo exhibitions include ‘Everyday, I don’t’ at CAC Passerelle in Brest, France, ’Learn from yesterday. Live for today. Look to tomorrow. Rest this afternoon’ at Deborah Bowmann in Brussels, ‘I would prefer not to’ at Galerie Paris-Beijing in Paris. Recent group exhibitions include ‘Vision’ at Palais de Tokyo in Paris, ‘Run Run Run’ at Villa Arson in Nice, ‘(In)territories / rituals’ at TARS Gallery in Bangkok and ‘The Context’ at Museum Flehite in Amersfoort, Netherlands. His work is held in private and public collec tions, including the Lisser Art Museum in The Netherlands.

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Leandro FealUntitled. From Series What Time is it There?, 2015–2018 Ultrachrome imprint on Baryta paper 310g 61 × 50 cm

Yornel Martínez Here Lies All Poetry, 2015 Movable types grouped 7 × 6 × 5 cm

El Apartamento Christian Gundín García

Calle H Esquina 15 #313, Apt. 3 10400 HavanaCuba

T +53 7 835 6019 M +34 61 737 7696M +53 5 263 4112info@artapartamento.comwww.artapartamento.com

El Apartamento

Shown at LISTE:Leandro Feal, 1986, CU Reynier Leyva Novo, 1983, CU Yornel Martínez, 1981, CU

Represented Artists:Juan Carlos Alom, CU Lester Álvarez, CU Yaima Carrazana, CU Raúl Cordero, CUArlés del Río, CULeandro Feal, CUDiana Fonseca, CU Flavio Garciandía, CU Osvaldo González Aguiar, CU Orestes Hernández, CU

jorge & larry, CU Luis Enrique López-Chávez, CU Yornel Martínez, CUAdrián Melis, CU José Manuel Mesías, CUReynier Leyva Novo, CU Levi Orta, CUVíctor Piverno, CUEduardo Ponjuán, CUEzequiel Suárez, CU

Leandro Feal is one of the most in - teres ting artists of the Cuban photographers’ young generation. His work maintains the reserved and intimate atmosphere of domestic photography, hence the sponta-ne ity of his frames and the natural ness of his characters facing the camera. The work of Reynier Leyva Novo proposes a personal way of facing History writing. Whether from the premises of video, photo-graphy, installationism, or object produc-tion, his gaze is crossed by the post modern tendency to enhance subjectivism and alternative discursive lines above speeches of official affiliation. Yornel Martínez participates of a gene r-ation of Cuban artists interested in the light-ness of the gesture and the conceptual methodology. His peculiar way of under stan-d ing the artistic process, as well as the development of a very personal work – guided by lightness and poetry –, positions him as one of the most solid young creators within the current Cuban contem-po rary art.

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Tt X AB Teresa Farrell and Alvaro Barrington, photographed by Elisa Gomera (2019)

EmalinAngelina VolkLeopold Thun

Unit 4 Huntingdon EstateBethnal Green RoadLondon E1 6JUUnited Kingdom

T +44 79 7275 3664 info@emalin.co.ukwww.emalin.co.uk

Emalin

Shown at LISTE:Tt X AB, USAlvaro Barrington, 1983, USTeresa Farrell, 1987, US

Represented Artists:Evgeny Antufiev, RUAlvaro Barrington, USNicholas Cheveldave, CAAslan Gaisumov, RU-CEAthena Papadopoulos, CA

Kembra Pfahler, USMegan Plunkett, USAugustas Serapinas, LTTt X AB, US

Emalin is pleased to present a new body of work by Tt X AB, a collaboration by the Brooklyn-based artists Teresa Farrell and Alvaro Barrington, alongside paintings from Farrell’s and Barrington’s independ ent practices. Resulting out of years of inte-grated thinking and dialogue between the two artists, their collaborative produc - tion consists of paintings, collages and assemblag es that offer both artists an opportunity to make themselves available to what Barrington describes as “a re-sponsive conversation worked out on the canvas.” Rather than reproducing the distinct visual languages that characterise their respective works, Tt X AB relies on a generative participation in each other’s processes of seeing and decision-making. The perceptiveness between the two precedes and informs the shared process of painting. The result is a toggling between languages within a single conversation: cartoonish quips overlay humour – and all that the register of humour entails – onto traditional painterly concerns, wherein each artist builds upon and reconfigures the rules set in place by the other.

Alvaro Barrington completed his MFA at Slade School of Fine Arts, London in 2017, following his BFA at Hunter College NY in 2013. Exhibitions include ‘A Taste of Chocolate’, Thaddaeus Ropac (London, UK. 2018); ‘Condo’, with David Weiss (Emalin, London, UK / Weiss Falk, Basel, CH. 2018); ‘Natura Naturans’, Mendes Wood DM (NY, USA. 2018); and ‘Alvaro Barrington’, MoMA PS1 (NY, USA. 2017). Forthcoming exhibitions in 2019 include presenta - tions at Sadie Coles (London, UK), Emalin (London, UK) and Oakville Galleries (Oakville, ON, CA).

Teresa Farrell completed her BFA at Hunter College NY in 2013. Recent exhibi-tions include ‘Dude, You‘re wearing me out’, Cult Party (Brooklyn, NY, USA. 2018); ‘Condo’, with David Weiss (Emalin, London, UK hosting Weiss Falk, Basel, CH. 2018); ‘Alvaro Barrington’, MoMA PS1 (NY, USA. 2017); and ‘Beach Bawdy’, The Castle (Rockaway Beach, NY, USA. 2017).

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0 / 9 / 8

Nick BastisGrocery Divider Sound Emitters, 2016–2017Aluminium and plastic grocery dividers, metal tubing, aggregate fillingDimensions variable

Ermes - ErmesIlaria Leoni

Linke Wienzeile 36/1C1060 ViennaAustria

M +39 3396419316 info@ermes-ermes.comwww.ermes-ermes.com

Ermes - Ermes

Solo show at LISTE:Nick Bastis, 1985, US

Represented Artists:Nick Bastis, USSarah Buckner, DEJakub Czyszczon, PLGina Folly, CH

Jieun Lim, KRDiego Marcon, ITNicola Pecoraro, IT

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Nora KapferUntitled, 2018Bitumen and paper on wood160 × 150 cm

Lars FriedrichInka Meißner

Kantstrasse 154 A10623 BerlinGermany

T +49 303 101 4267M +49 151 461 9709 7

www.larsfriedrich.net

Lars Friedrich

Shown at LISTE:Nora Kapfer, 1984, DEMathieu Malouf, 1984, CA

Represented Artists:LaKela Brown, USNicola Brunnhuber, AUMichael Franz, DENicolás Guagnini, ARAlexander Hempel, DETobias Kaspar, CHFlora Klein, CHAnita Leisz, AUIlya Lipkin, USFriedrich Lissmann, DE

Mathieu Malouf, CAPark McArthur, USGeorgie Nettell, UKSam Pulitzer, USGeorgia Sagri, GRNolan Simon, USMiriam Visaczki, DEPeter Wächtler, DEMin Yoon, KRJutta Zimmermann, DE

Lars Friedrich gallery exists since 2011. This year Lars Friedrich is participating in LISTE with works from Nora Kapfer and Mathieu Malouf. Both artist have exhibited with the gallery over the last several years.

Nora Kapfer lives and works in Berlin. Her first show with the gallery was in February 2018. She has recently shown at nousmoules, Vienna, Galerie der Stadt Schwaz in Tyrol in 2018 and at Etablissement d’en face in 2017 and 2018. Further solo shows include The WIELS Contemporary Art Centre in 2017 after completing the WIELS residency program.

Mathieu Malouf lives and works in New York City. He showed with the gallery in 2012, 2015 and 2017. His works were recently exhibited at Jenny’s, Los Angeles in 2019, House of Gaga, Mexico City in 2018 and Greene Naftali Gallery, New York in 2017. He furthermore had a first retro-spective of his work at Le Consortium, Dijon in 2018 titled: ‘Infinite Regress: Important Paintings With Audio Commentary’ 1997–2018.

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Holly HendryHypo, 2018Plaster, Steel, Aluminium, Paint, Cement, Jesmonite, Pigment, Ash88 × 22.5 × 3 cm 8 cm (base)

Holly HendryPins and Needle, 2018Plaster, Cement, Jesmonite, Aluminium, Stainless Steel, PigmentPaint, Grit, Ash, Charcoal89 × 123 × 4 cm

Frutta GalleryJames Andrew Gardner

9 Duke streetG4 0UL GlasgowScotlandT +44 141 552 3777

Via dei Salumi 5300153 RomeItalyT +39 064 550 8934

M +34 40 458 183info@fruttagallery.comwww.fruttagallery.com

Frutta

Solo show at LISTE:Holly Hendry, 1990, UK

Represented Artists:Gabriele De Santis, ITStephen Felton, USDitte Grantiis, DKMarco Giordano, ITLauren Keeley, UK

Jacopo Miliani, ITAlek O., ITSanto Tolone, ITYonatan Vinitsky, IL

Through her installations and sculp tures, Holly Hendry looks at the back of things; open cracks where you see the gooey insides. Using forms that one associ ates with burial or bodies, they gratify our continual attempt to try and feel around the edges or to peer underneath the surface to see the innards that are dirty and real.

For LISTE 2019, Hendry takes inspiration from institutional interiors – the airport and the hospital as architecturally specific spaces where the body is controlled and investigated through forms of imaging such as X-rays –flattening body and object onto the same plane. Works take the form of sliced or lobotomised anatomies pre-sented as a series of wall and floor based sculptures that are flat but fighting to be three dimensional, straddling the lines of human, image and machine. These bodies are half human half diagram, based on anatomy and instruction manuals which will create a form of autopsy through the imagery they reveal. The works will address the ambiguity of the image where organ can slide into object and vice

versa. Addressing the slippage of bounda-ries between people and things. Metal cut-outs are depictive of shadows or outlines of bodies and bags – a line that is part queue part storage rack. Some of the works utilise techniques of the car ica ture, with exaggerated line or propor -tion or a specific feature, drawing parallels with the medical cortical homunculus – a visual representation of the human body where pro portion is linked to sensory func-tion. There is a visual similarity to x-rays – each containing body parts and objects, ailments and images that reveal the in - nards of the subject. In this way, the work speaks of reliquary. Techniques force the body to conform to a specific size and shape – an acknowledgement of the idea of Procrustean dimensions in relation to the body – the procrustean bed as hospital bed or airport scanning machine.

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Sebastian JeffordAggressively indeterminate biscuit, 2018Polyurethane foam, acrylic, latex, plastic snaps, plaster bandage, chicken wire, cardboard155 × 135 × 37 cmPhoto: Simon Veres

Gianni ManhattanLaura Windhager

Wassergasse 141030 ViennaAustria

M +43 660 296 22 88 office@giannimanhattan.comwww.giannimanhattan.com

Gianni Manhattan

Solo show at LISTE:Sebastian Jefford, 1990, UK

Represented Artists:Nils Alix-Tabeling, FRMarina Faust, ATMatthieu Haberard, FRSebastian Jefford, UK

Barbara Kapusta, ATZsófia Keresztes, HUSimon Mathers, UK

Sebastian Jefford’s practice encompasses sculpture, video and writing.

The activity of reconstruction or reenact-ment is a precarious escape vehicle from the present – while conventionally used as a means to glean knowledge and intimacy with the past, Jefford is more concerned with the potential for fiction, misinter preta-tion and red herrings. Activity is fictionalised, desire is literalised, and physicality plasticised until the seduction of a mouldy veneer encompasses the whole of the ‘world’.

For LISTE 2019, Jefford is presenting bulbous tablets, whose surfaces are engraved with representations of randomly assembled depictions of an impending ecological collapse.

Jefford’s work deals with notions of clutter and debris, physical, political and psychological, and what humanity will leave behind and how it will be interpreted in the future. These swollen tableaux are snapshots of anachronistic protagonists,

a flawed hero, isolated from a logical notion of narrative and time.

Progress in archaeology means constant ly fragmenting and reassembling artefacts from different stretches of time. Jefford’s mute objects become co-opted into a confusion of individual and collective identi-ties and narratives. Histories are built into time, and events are stretched, compressed, and snubbed to fit the needs of the day, in a world that composes and recomposes itself constantly in an endless process of dissatisfaction.

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Catharine CzudejArtic Ice, 2018 Concrete, cardboard 120 × 25 × 36 cm

Ginerva Gambino Laura Henseler

Kyffhäuserstr. 3150674 CologneGermany

M +49 176 459 1460 0 mail@ginervagambino.com www.ginervagambino.com

Ginerva Gambino

Solo show at LISTE:Catharine Czudej, 1985, US

Represented Artists:Phoebe Collings-James, UKVanessa Conte, USCatharine Czudej, USSimone Gilges, DE

Marcus Herse, USHanni Kamaly, NOIndia Lawrence, USAlex Wissel, DE

Labor, power dynamics and moral struc-tures are recurring themes in Catharine Czudej’s work which encompasses sculpture, installation, painting and film. Her art is characterized by its humorous approach and absurdist take on the everyday. It manifests itself in the artist’s rendered replicas of household objects that are representative of a certain sub-dermal citizenry within the USA. While the imagery and objects are celebratory of an intelligence that is not academic but physical and is operating in a culture of utility and entertainment, the materials and constructions Czudej chooses offer a place for critical examination of contem po rary art in the medium as well as the society they take place in.

The works presented at LISTE are a group of solid concrete plinths that have cardboard cutouts of attractive young women advertising alcoholic beverages wrapped around them, or rather amal-gamated into their surfaces. Despite these contortions, the girls never loose their cheerleader-smile and alluring poses.

Drunk on capital gains and designed with gleefully indifference, Czudej’s girls bend over backwards to facilitate and memorialize your pleasure.

Catharine Czudej (*1985 in Johannesburg, South Africa) lives and works in New York. Her work has been shown at the following galleries and institutions: Ginerva Gambino, Cologne (2018); Jeffrey Stark, New York (2017); Kölnischer Kunstverein, Cologne (2016); Office Baroque, Brussels (2016/2014); Team Gallery, New York (2016); Off Vendome, New York (2016); Galerie Eva Presenhuber, Zürich (2016); Eden Eden, Berlin (2015); Chewday’s, London (2015); Pace Gallery, London (2014); François Ghebaly Gallery, Los Angeles (2014); Ramiken Crucible, New York (2014 / 2013) et. al.

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Top:Ron EwertI’m getting to old for this shirt, November 20–December 15, 2018ExhibitionAtlanta Contemporary

Bottom:Ron EwertOmen (Ron Santo Day), 2018Gesso on canvas61 × 76.25 cm

Ron EwertNoodlin’, 2018Gesso on canvas91.5 × 122 cm

Ron EwertGarbage In Garbage Out, 2018Hand-carved extruded polystyrene, latex paint, site-responsive488 × 366 × 30.5 cm

Good WeatherHaynes RileyErin Riley

4400 EdgemereNorth Little Rock, AR 72116USA

T +1 662 734 0380M +1 501 680 3763

desk@goodweathergallery.comwww.goodweathergallery.com

Good Weather

Solo show at LISTE:Ron Ewert, 1982, US

Represented Artists:Hartmut Austen, DEMariel Capanna, USRon Ewert, USJenny Gagalka, CAAmy Garofano, US

Talon Gustafson, USLayet Johnson, USJerry Phillips, USMatt Siegle, USPei-Hsuan Wang, TW

humanron1@yahoo.com:I think the work… relates back to psycho-logical confusions, errors in logic, etc… related to the concept of the censor, or cen-sorship in psychoanalysis. One of the ways to avoid the censor is through acts of con-flation that may seem like a joke or nonsense but are really a sort of logical or illogical juxtaposition of concepts, nostalgic imagery (symbols), or objects (forms / gestures).

So conflated ideas evade the censor but then must be consciously decoded after the fact. In this way the work uses many familiar materials, concepts, images, and processes to recombine thoughts as a cipher, creating new hybrid symbols and iconography that, rather than establish an economical hierarchical space of communication and understanding, “de-fragmenting” the work subtly disorganizes idioms creating surplus spaces that challenge the maker and audience alike to imagine possibilities of reconciliation.

An example of “surplus ideational space (visual space)” is the Rorschach or similar

conditions of incomplete or suggestive visual information that relies on the viewers’ imagination to complete the visual logic / assignment of symbolic meaning. This is why I’ve often thought of my work £as passive aggressive, both hiding /camouflaging, and loud / bold, asking for the intellectual and imaginative help of the other in its social function.

It’s funny that the title ‘Garbage In Garbage Out’ is originally a computing term analyzing input and output relations, but it has been co-opted (falsely) by health and active lifestyle culture as an axiom similar to No Pain No Gain, to relate to the organic body and consumption, or work /result.

haynesriley@gmail.com:are you thumb typing all of this? or voice dictating?

humanron1@yahoo.com:no lolkeyboard

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Hera BüyüktaşçıyanRising…a small height from the ground, 2016Rope, Site- specific Installation at Küçükyalı Arkeopark, IstanbulPhotography by Domenico Ventura

Nazgol AnsariniaThe Breaking of a Ceramic Brick, 2018Glazed ceramic5 × 15 × 35 cmPhotography by Sebastiano Pellion

Green Art GalleryYasmin Atassi

Al Quoz 1, Street 8Alserkal Avenue, Unit 28 P.O. Box 25711DubaiUAE

T +971 4 3469305 info@gagallery.comwww.gagallery.com

Green Art Gallery

Shown at LISTE:Nazgol Ansarinia, 1979, IRHera Büyüktaşçıyan, 1984, TR

Represented Artists:Shadi Habib Allah, PSNazgol Ansarinia, IRKamrooz Aram, IRJaber Al Azmeh, SYAlessandro Balteo-Yazbeck, VEZsolt Bodoni, HU

Hera Büyüktaşçıyan, TRChaouki Choukini, LBMaryam Hoseini, IRAna Mazzei, BRSeher Shah, PKHale Tenger, TR

The dramatic urban development in Tehran over the past decade has been the main focus for Nazgol Ansarinia’s work. She has worked with architectural models, municipal murals and miniature monu -ments that capture the intersection between the sacrosanct domestic sphere and the broader built environment. Her architectural process is one that is fundamentally based on deconstruction. In her own words, “I take elements of these subjects apart and then put them back together in a way that reveals something unnoticed about them.” For LISTE, the artist presents a new sculptural body of ceramic work that is a continuation of her recent project ‘Demol -ish ing buildings’, buying waste in which she recorded an entire building being demol-ished by pick-axe and shovel over the period of 16 days. The rubble that is swept off- screen becomes a basis for interrogation by the artist and appears in a multitude of new sculptural forms and works on paper. In these works, Ansarinia portrays that moment between demolition and crea tion, dissection and construction, disorder and pattern.

For Hera Büyüktaşçıyan, a singular place becomes a point of inquisition and departure. She presents a new sculpture and drawing series based on a large scale in-situ installation that was first shown in Istanbul at Arkeopark, the most extensive archaeological site to date on the Asian side of Istanbul and is where the Satyros Monastery was discovered in 2001. The site is now somewhat surreally located in a highly populated and constructed area of the city, surrounded by contemporary life. Once an area associated with summer rest, views of the sea, gardens and man sions, Küçükyalı is now a neighbour-hood obstructed by time and urban development. Büyüktaşçıyan’s installation ‘Rising… A Small Height from the Ground’ speaks to the idea of the invisible and unknown history that lies beneath our feet, but also about the regeneration of con-temporary cities.

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Mahmoud KhaledSplashed Memory of a Night Out (detail), 2010–2018A series of 20 digital images transformed into black and white photographs developed in a dark room24 × 30 cm each

GypsumAleya Hamza

Bldg. 3, Rd. 218, ground floor, apt. 2, Maadi Degla11728 CairoEgypt

T +20 10 01 00 63 63 info@gypsumgallery.comwww.gypsumgallery.com

Gypsum

Shown at LISTE:Mahmoud Khaled, 1982, EGMona Marzouk, 1968, EG

Represented Artists:Tamara Al Samerraei, LBDoa Aly, EG Ahmed Badry, EGTaha Belal, EGGözde İlkin, TRMahmoud Khaled, EG

Maha Maamoun, EGBasim Magdy, EGMona Marzouk, EGAhmed Morsi, EGSetareh Shahbazi, DE

At the core of Mahmoud Khaled’s prac tice lies a probing engagement with the construction of male identity. In a society that is increasingly shaped by medi-ated and virtual exchanges, Khaled’s work traces the boundaries between what is real and what is hidden, disguised or staged. Mixing photography and video with sculptural forms, sound and text, Khaled’s subjects are often unconventional. His practice can be regarded as a formal and philosophical rumination on the value and meaning of art as a form of political ac tivism, an object of desire and a space for critical reflection. Mona Marzouk’s interest in architectural histories is visible in many of her works – in painting, sculpture as well as site-specific murals and paintings. Blurring the boundary between biomorphic and geometrical, personal and political, and masculine and feminine, Marzouk attempts to create alternative perspectives of social structures. With the sensibility of a maverick architect, Marzouk envisions aesthetic systems that draw on a diversity of cultural traditions but which can only exist in the realm of the

imagination. Her images become unlikely routes to a cultural investigation of the past and future melded into one.

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Hun Kyu KimDancing In The Moonlight (Winter Night), 2018Pigment on silk122 × 92 cm

High ArtRomain ChenaisJason HwangPhilippe Joppin

1 rue Fromentin 75009 ParisFrance

T +33 9 84 09 67 83 info@highart.frwww.highart.fr

High Art

Shown at LISTE:Max Hooper Schneider, 1982, USHun Kyu Kim, 1986, KR

Represented Artists:Olga Balema, UAMatt Copson, UKKeith Farquhar, UKMax Hooper Schneider, USTom Humphreys, UKCooper Jacoby, USValerie Keane, USNina Könnemann, DEBradley Kronz, US

Aaron Garber-Maikovska, USOrion Martin, USMélanie Matranga, FRAlan Michael, UKPentti Monkkonen, UKJohn Russell, UKDena Yago, USNathan Zeidman, US

Hun Kyu KimBorn in South Korea. Lives and works in Seoul and London. Exhibitions include: High Art, Paris, France(forthcoming 2019); ‘Hun Kyu Kim / SvenJohne’, E-Werk Freiberg, Freiberg (forth - coming 2019); ‘Eight Universes and The Machine’, The Approach, London, UK(2018); ‘Under the See’, Crypt Gallery,London (2017); and ‘The birth of nation’,Hockney Gallery, London (2016).

Max Hooper SchneiderBorn in Los Angeles, USA. Lives and works in Santa Fe and Los Angeles, USA.Exhibitions include: ‘Max Hooper Schneider’, Hammer Museum, Los Angeles (forthcoming 2019); 16th Istanbul Biennial (forthcoming 2019); ‘Tryouts For The Human Race’, Jenny’s, Los Angeles, USA (2018); 13th Baltic Trien nial, Vilnius, Lithuania (2018); ‘Aros Triennial: The Garden, End of Times Begin ning of Times’, Aros Aarhus Art Museum, Aarhus, Denmark (2017); ‘Mutations’, High Line, New York, USA (2017); ‘The New Normal: China, Art, and 2017’, Ullens Center for Contemporary Arts (UCCA), Beijing, China (2017).

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Dorota Gawęda and Eglė KulbokaitėYGRG 159: SULK, 2018 Installation and performance

Jannis MarwitzUntitled, 2018Oil and button on canvas30 × 33 cm

Lucas Hirsch Birkenstrasse 9240233 DusseldorfGermany

M +49 178 694 9087 info@lucashirsch.comwww.lucashirsch.com

Lucas Hirsch

Shown at LISTE:Dorota Gawęda and Eglė Kulbokaitė, 1986 & 1987, PL & LTJannis Marwitz, 1985, DE

Represented Artists:Dorota Gawęda and Eglė Kulbokaitė, PL & LTDorota Gawęda, PLElin Gonzalez, ARHC, EU

Jannis Marwitz, DELukas Müller, DEHalvor Rønning, NOSami Schlichting, FI

Dorota Gawęda and Eglė Kulbokaitė present a series of works that deal with per- formance documentation in its various forms. The visual and olfactory material for the works shown with Lucas Hirsch was generated during their recent performance of Young Girl Reading Group 159: SULK, exhibited at ANTI – 6th Athens Biennale (2018). Artists’ presentation includes an installation of video works, digital print on organza and RYXPER1126AE fragrance produced in collaboration with International Flavors and Fragrances Inc.

Jannis Marwitz makes figurative paint - ings. Working from images of Greco-Roman sculptural reliefs, Marwitz homes in on details and lavishly depicts them in impossibly crowded scenes. The scenes are often organized around a single, central figure around which other figures tend to roil and writhe with a dynamism that touches upon the infernal. Details are exagger - ated to the point of ponderous neoclassical parody. Heavily shaded faces are com - ple mented by hypertrophic musculature while bodies are draped in fabrics whose thick,

opulent folds are distinctly evocative of the stone surfaces they unabashedly seek to mimic. At other times, paintings give the im pression of being rapidly limned on silk grounds, in which the underdrawing, as if unfinished or perceived via x-ray, seems to come through. In every case, the pictures testify to a high level of skill and virtuosity which is anything but gratuitous. The border-line excess of craft that goes into construc -ting these works mirrors the excess of dense, involuted imagery on the canvas. These two components in turn inform the vaguely apoca lyptic and deeply unsettlingly nature of the works. (Text by Chris Sharp)

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Klára Hosnedlová untitled, from the series ‘Seated Woman’, 2019 hand embroidery, terrazzo frame 44 × 34 × 4cm photo: Zdenek Porcalcourtesy: hunt kastner

hunt kastnerKatherine KastnerCamille Hunt

Bořivojova 85130 00 Prague 3Czech Republic

T +420 222 969 887M +420 777 571 306 M +420 603 525 294

galerie@huntkastner.comwww.huntkastner.com

hunt kastner

Solo show at LISTE:Klára Hosnedlová, 1990, CZ

Represented Artists:Zbyněk Baladrán, CZKlára Hosnedlová, CZAnna Hulačová, CZDalibor Chatrný, CZViktor Kopasz, SKEva Koťátková, CZAlena Kotzmannová, CZDominik Lang, CZ

Jaromír Novotný, CZBasim Magdy, EGDaniel Pitín, CZZorka Ságlová, CZJan Šerých, CZJiří Skála, CZMichaela Thelenová, CZTomáš Vaněk, CZ

Klára Hosnedlová’s recent work has been inspired by her study of the work of Adolf Loos, who became famous for his modernist architecture and interior design. Hosnedlová’s unique technology of hand embroidery is intertwined with a powerful conceptual framework that examines the perception of the role of women in socie-ty over time through her study of iconic modernist architecture. A separated space for men and women, as designed by Loos in the Müller villa in Prague, correlated with the mentality of the previous century that attributed a different character to each sex. Women’s allotment was a little room with floral upholstery, lemon-tree wood and light colors, a picturesque seating corner, as if cut out for indulging in embroi-dery, an activity apprehended as something inferior to art, a pastime for the fair sex whose nature commands it to warm up the household, while men will take care of the progress outside. In pursuit of industrial success and machine-aided manufac ture, purity and uniformity of shapes was the symbol of victory over the ornament and deco rativism apprehended as backward.

These two values, understood as opposites, were outlined against the background of social construct of feminine and masculine principles.The artist carefully researches her chosen environments and intimately inhabits the space with her work. The artist often works with site specific installations, creating an elaborate stage for her on-going narra-tive. The difference between artwork and space used for its presentation disappears in the artist’s installations. All elements exist in mutual symbiosis, thus developing what we might call a specific “artwork milieu” or environment. In Klára Hosnedlová’s installations, you directly enter the artwork and walk through it. You move within the environment and like a visitor who out of curiosity entered a room where he or she is not quite entitled to be, you will get glimpses into the private world of the absent residents.Text by Klára Burianová

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Anca Benera & Arnold EstefánTired Mountains, 2018ongoing, collages on paper17 × 25 cmproduced by Frac des Pays de la Loirephoto credits: Fanny Trichet

IvanMarian Ivan

Grecescu 13050598 BucharestRomania

T +40 214 100 139M +40 721 261 242

info@ivangallery.comwww.ivangallery.com

Ivan

Shown at LISTE:Anca Benera & Arnold Estefán, 1977 & 1978, RO & HU

Represented Artists:Sandor Bartha, HUAnca Benera & Arnold Estefán, RO & HUHoria Bernea, ROGeta Brătescu, ROElijah Burgher, USAndreea Ciobîcă, ROCristina David, RO

Paul Neagu, ROLia Perjovschi, ROSimona Runcan, ROȘtefan Sava, RORoss Taylor, UKIulia Toma, ROJaro Varga, SKMădălina Zaharia, RO

Bucharest based artists Anca Benera & Arnold Estefán work in a range of media spanning installation, drawing, video, and performance. Having started working as a duo since 2011, they apply research-based methodologies to reveal the invisible patterns behind certain historical, social, or geopolitical narratives.

For their solo show at LISTE, the artists continue their recent extensive project titled “Debrisphere” – an investigation on the phenomenon of man-made landscapes which are often the result of conflicts and wars. The artists have coined the term

“Debrisphere” to refer to this, as yet un-named, stratum of the earth’s crust. They employ seemingly “scientific tools” in order to imagine and map this new strata, in which destruction, the making and marking of landscape (as a form of spatial modifica tion) go hand in hand with heigh - t ened state vio lence and the overexploi- tation of resources.

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Top:Gili TalOur Creative Heart, 2017flyer racks and flyers

Bottom left:Gili TalThe Spectacular Instant, 2018Lazertran and varnish on canvas

Bottom right:Gili TalProspectus, 2018digital print and paint on canvas

Jenny’sJenny Borland Mathew Sova

4220 Sunset BoulevardLos Angeles, CA 90029USA

T +1 323 741 8237M +1 310 720 3173

info@jennys.uswww.jennys.us

Jenny’s

Solo show at LISTE:Gili Tal, 1983, UK

Represented Artists:Wolfgang Breuer, DEJulien Ceccaldi, CALiz Craft, USMax Hooper Schneider, USRenaud Jerez, FRMorag Keil, UK

Ed Lehan, UKMathieu Malouf, CAPentti Monkkonen, USChuck Nanney, USEirik Sæther, NOCarter Seddon, USGili Tal, UK

Gili Tal (b. 1983) has presented solo exhibitions at Cabinet, London; Goton, Paris; Jenny’s, Los Angeles; Vilma Gold, London; Temnikova & Kasela, Tallinn; and Sandy Brown, Berlin. Her work has been included in group exhibitions at Swiss Institute, New York; LUMA Foundation, Zurich; Cell Project Space, London; 500 Capp Street Foundation, San Francisco; Utah Museum of Contemporary Art, Salt Lake City; Glasgow International, Scotland; and Kunstverein Munich, Germany. She is the current recipient of the 2019 Laurenz-Haus Stiftung Residency in Basel.

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Josefine ReischGluck (framed), 2019oil on canvas115 × 160 cm

Galerie Noah Klink Noah Klink

Kulmer Strasse 1710783 Berlin Germany

M +49 162 701 0044 info@noahklink.comwww.noahklink.com

Galerie Noah Klink

Solo show at LISTE:Josefine Reisch, 1987, DE

Represented Artists:Taslima Ahmed, UKGerrit Frohne-Brinkmann, DEFLAME, DE / UK

Manuel Gnam, DEJosefine Reisch, DE

Josefine Reisch works through z mediums such as tromp l‘oeil painting, portraiture and textile. Her works are based on an omnipresent and accessible European cultural heritage. She examines historical contents to outline hierarchies particularly social conditioning and aspirational tendencies within contemporary interpretations of historiography. Reisch questions the value and validity of a popularized cultural heritage as she reassembles historical moments and figures into jumbled compositions, much like a musical medley. Engaging in a feminist reading of historiography her work triggers new readings and uncertainty within this déjà-vu.

Josefine Reisch (born 1987, Berlin, Germany) lives and works in London. Recent solo and two-people shows include SUNDY, London (2019); ‘Pulmonary Tales’, PEE Z II, London (2019) both with Philip Seibel; Celetoids, Zabludowicz Collection, London (2018); ‘Stampede’, Galerie Noah Klink, Berlin (2018). Her work has also been shown with Mothers & Daughters Bar at

Beursschouwburg, Brussels; White Cubicle, London; Bob’s Pogo Bar at KW Institute for Contemporary Art, Berlin; Volcano Extravaganza, Stromboli; Corner College, Zurich; Kunsthaus NRW, Aachen; Arp Museum Rolandseck and Moderna Galleria Ljubljana for the 31st Biennial of Graphic Arts, amongst others.

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Michael FullertonParis Hilton’s Sperm Donor (Dalofaelid Phenotype), 2019Oil on linen60 × 45 cm

Koppe AstnerEmma AstnerKendall Koppe

36–38 Coburg StreetGlasgow G5 9JFScotland

T +44 141 248 8177M +44 750 311 5383M +44 741 258 9163

info@koppeastner.comwww.koppeastner.com

Koppe Astner

Shown at LISTE:Kris Lemsalu, 1985, EEMichael Fullerton, 1971, UK

Represented Artists:Laura Aldridge, UKDickon Drury, UKJosh Faught, USMichael Fullerton, UKElla Kruglyanskaya, US / LV

Kris Lemsalu, EEGeorge Henry Longly, UKCraig Mulholland, UKCharlotte Prodger, UKCorin Sworn, UK / CA

Kris Lemsalu’s mixed-media sculptures, installations and performances evoke the bestial side of human beings and civili-zations, often underscored by feminist themes. Her amalgamate sculptures explore life, death and time with a sense of irony and absurdity that playfully disrupts familiar visual languages and suggest the possibility of overcoming a system of oppression from within. Juxtaposing delicate ceramic and porcelain with bold colours and synthetic fabrics, Lemsalu’s practice is at once seductive, repulsive and socially critical.

Kris Lemsalu lives and works in Tallinn. Following recent solo exhibitions at Gold-smith’s CCA, London; Secession, Vienna and Tramway, Glasgow she is currently re - presenting Estonia in the 2019 Venice Biennale.

Michael Fullerton uses painting, print - making, film and sculpture to address infor-mation and misinformation within systems of power. His paintings often portray controversial characters from mass media:

famous journalists and radio broadcasters, spies and human intelligence gatherers, politically engaged celebrities, wrongfully convicted prisoners, scandalous politicians and internet icons. Fullerton implements portraiture as a vehicle to set the strong ideo logical convictions and complex trajectories of his subjects alongside one another, thereby destabilising the ideological and regulative belief systems they are representative of.

Michael Fullerton lives and works in Glasgow. Recent solo exhibitions include Tales from the Anglosphere at Koppe Astner, Glasgow; Seminal Event at Queen’s Park Railway Club, Glasgow and Prussian Blue at The Scottish National Gallery of Modern Art, Edinburgh.

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Hana MiletićSoftwares, 2018Jacquard-woven textile manipulated by hand (white polyester, vanilla cotton and nylon, white cotton, cream cottolin, variegated beige cottolin and gold polyester and viscose)300 × 150 × 0,5 cmcourtesy of the artist and LambdaLambda-LambdaPhoto: Kristien Daem

LambdaLambdaLambdaIsabella RitterKatharina Schendl

Garibaldi 1/Johan von Hahn 810000 PrishtinaKosovo

T +383 49 338 365M +43 676 931 3727hello@lambdalambdalambda.orgwww.lambdalambdalambda.orgwww.lamaisonderendezvous.com

LambdaLambdaLambda

Solo show at LISTE:Hana Miletić, 1982, HR

Represented Artists:Tatjana Danneberg, ATHeinz Frank, ATFlaka Haliti, XKAstrit Ismaili, XK

Hanne Lippard, NOHana Miletić, HRNora Turato, HRDardan Zhegrova, XK

In her practice Hana Miletić reflects on issues of representation and social re- pro duction, while giving insights about her use of photography and the linkages between photography and weaving. Miletić models the textiles after photographs she takes in the streets of Brussels and Zagreb, documenting marks of both damage and repair. In order to address the questions of representation and reproduction– an economy inherent to photography– outside its medium, she choses not to exhibit the aforementioned photographs. Those exist independently of the woven works, pre dominantly as jpegs in printed media.

Focusing on community structures and social interactions, her artistic practice explores the consequences of political failures and economical recessions for the individual and society. Miletić sees the weaving process – which requires consider-able time and dedication – as a way to counteract certain economic, political and social forces. She calls this practice “care work” or “reproductive labour”, refer - ring to the ideas of materialist feminism.

This movement, which emerged in the 1970s, denounced how domestic work

– most often assigned to female and mi - grant workers – is undervalued in patriarchal and capitalist societies.

Hana Miletić (*1982), born in Zagreb, is based in Brussels. She studied Photography at the Royal Academy of Fine Arts Antwerp and the Gerrit Rietveld Academie, Amsterdam; Art History and Archaeology at the Free University of Brussels; and Gender Studies at Utrecht University. In 2018 WIELS Contemporary Art Centre in Brussels presented her first big institutional solo exhibition. She recently took part in group-exhibitions at the contemporary art museum S.M.A.K., Ghent (2018–19); Metro Pictures, New York (2019); TextielMuseum, Tilburg (2018–19); the 13th Sharjah Biennial (2017) and Palais de Tokyo, Paris (2016). In 2015 she was awarded the BOZAR Prize in the framework of the Young Belgian Art Prize.

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Maryam Jafri Model 500, 2019Installation View: Taxispalais Kunsthalle Tirol, 2019Metal, vinyl LPs, plastic, vinyl, text685 × 335 cm Courtesy the artist Photo by Günter Kresser

Laveronica arte contemporaneaGugliotta CorradoD’Antonio Sveva

Via Grimaldi 9397015 ModicaItaly

T + 39 93 2188 1704M +39 32 0235 2117

info@gallerialaveronica.itwww.gallerialaveronica.it

Laveronica arte contemporanea

Shown at LISTE:Igor Grubic, 1969, HRMaryam Jafri, 1972, US

Represented Artists:Johanna Billing, SEGiovanni De Lazzari, IT Igor Grubic, HRAlejandra Hernández, COAdelita Husni-Bey, ITMaryam Jafri, US

Uriel Orlow, CHMoira Ricci, ITMarinella Senatore, ITJonas Staal, NEAmir Yatziv, IL

‘What will be this place in the future?’ is a project with works by Igor Grubic (Croatia 1969) and Maryam Jafri (USA 1972). Each one of the artists give his or her way of seeing the developing of post industrial complex in the countries they come from: Croatia and USA.In the project by Igor Grubic ‘Deconstruction of the Factory’ is staged the transition from industrial to post-industrial cities in Croatia and more in general in that part of Europe. The photographic essay and film trace the transformation of urban land-scapes, public and work spaces in our local environment, which change under the pressure of urban change and gentrification. The project is completed by a poetic, captivating short animated film ‘How Steel Was Tempered’ (2018), which is a story about a father-son relationship set in the different factory settings photographed by Grubic. The film talks about the coming of age, of familial bonds, of generational differences, but also about the prospects of fruitful future relationships based on shared social space and collaborative working.‘Model 500’ (2019) by Maryam Jafriis a

metal and vinyl sculpture focusing on music and politics, specifically Detroit Techno and its relation to deindustrialization, technology, and race. Model 500is configured as a 10 × 10 grid in the guise of an American crossword puzzle. However the black squares typical of a crossword puzzle are here replaced with vintage Detroit techno LPs mounted on the metal plates. The African-American, Detroit – based origins of techno are often forgotten. Detroit techno spoke to the complexities of living in a city like Detroit, which in the early-1980s reflected a half-century of racial stratifi-cation and violence, as well as industrial decline. But in the music there is also a powerful sense of agency. The music and the culture of techno reflect an elaborate artistic and technological response to the transition from industrial to post-industrial world, as well as an innovative approach to the possibilities of modern machine tech nologies and their application to music.

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Keto Logua, Installation view, Ars Viva 2019, KAI 10 | Arthena Foundation, DüsseldorfImages: Simon VogelCourtesy the artist

Top:Bisexual and Radially Symmetric, 20183D print polylactide and white resin20 × 20 × 11 cm

A Landscape with Ancestral Flowers, 2018Sublimation print on satin3000 × 6000 cm

Bottom:Open Beehive, 2018Beehive, steal, color 210 × 135 cm

Bisexual and Radially Symmetric, 20183D print polylactide and white resin20 × 20 × 11 cm

LC QueisserLisa Offermann

Tsinamdzgvrishvili st. 490102 TbilisiGeorgia

M + 995 599 055 026 info@lc-queisser.comwww.lc-queisser.com

LC Queisser

Solo show at LISTE:Keto Logua, 1988, GE

Represented Artists:Ketuta Alexi-Meskhishvili, GELisa Alvarado, USWon Cha, US

Stefanie Heinze, DEKeto Logua, GE

Keto Logua’s work engages the shared image-making traditions within artistic and scientific production. She uses sculpture, film and installation to undermine the bound-aries between what is objective and subjective, fact and fiction, examining the inherent anthropocentric projection that lies within structures of scientific practice. Using a research based and collaborative process, her work denounces an indi-vidually expressive authorship while simul-taneously centering the inexorably personal nature of searches for progress.In Simple Model, Logua uses a realistic 3D model of the human body called SMPL to design a sculpture that is then rendered both digitally and materially. The SMPL model is built from a large number of aligned 3D meshes of different people in different poses. While this vast archiving of human forms is done with the intention of creating lifelike virtual representations of the figure, the aesthetic of the sculpting tools is distinctly technological. Logua’s character is an amalgamation of the stages of materialization and abstraction it has gone through.

Keto Logua (b. 1988 Sukhumi, Georgia) lives and works in Berlin. She is a winner of the 2019 Ars Viva prize. Her work has been shown at Between Bridges Berlin (Berlin), KW Institute for Contemporary Art (Berlin), and Museum Wiesbaden.

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Sean TownleyOpera (in aluminum), 2017Aluminum, stainless steel, steel, cable, hardware, leadUnique187 × 178 × 77cm

Antoine LeviNerina Ciaccia

44, rue Ramponeau75020 Paris France

T +33 95 35 64 956M +33 69 56 54 467

info@antoinelevi.frwww.antoinelevi.fr

Antoine Levi

Shown at LISTE:Louis Fratino, 1993, USPiotr Makowski, 1985, PLSean Townley, 1983, US

Represented Artists:Lisetta Carmi, ITAlina Chaiderov, SE / RUSrijon Chowdhury, USLouis Fratino, USFrancesco Gennari, ITDaniel Jacoby, PE

Piotr Makowski, PLBeatriz Olabarrieta, ESOlve Sande, NOSean Townley, USOla Vasiljeva, NL / LVZoe Williams, UK

Louis Fratino’s passionate observations of friends and relatives have a fictive, allegorical quality. His fields of vivid color and his expressive style recall early Modernist portraiture, although his inter-pretations of the male form mine a visual history that goes back at least to ancient Greece. He pictures an intimate realm of subjectivity and desire that the outside world infiltrates only through refraction and sublimation.

Piotr Makowski’s reflection is based upon the international historical avant-garde the artist however dispossesses from any prevailing formal contents. The new Neo-pop avantgarde large scale painting can there fore be read as questioning the nature of painting and its potentialities into contempo raneity, through the prism of Modernism and Pop Art. Imbued as well by strong self-portrayal connotations, Makowski’s works reveal at the same time the artists’ respect and fairly acknow - l edged approach to the matter of painting.

Sean Townley presents one of his major installations entitled ‘Opera (in aluminum)’ (2017), a suspended rack of measuring chains with lead ends that is the replica of a classical appliance employed to prepare the proportions of a sculpture from a block. Through the reenactment of an aca-demic device, the apparatus conjures the absent statue (a ram-headed lion located at the entrance gate of the Amun Temple in Thebes), emphasising its mechanical re - production and nodding to a modernist seriality of forms where the notions of sur-faces, restoration and History are interlaced.

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Diego Salvador RiosDisplayed Documents on Altavista Arkive Aktivation events at May Day Rooms, 2014Altavista Arkive as part of Altavista Project.

Noah BarkerFranco Solinas Constellator, 2019Powder-coated steel, lamp, acrylic, C-print, magnets182 × 488 cm

Emanuele MarcuccioD’Aprés Cavenago, 2017Mild steel115 × 195 cm

Lodos Francisco Cordero-Oceguera

Edificio HumboldtCalle del Artículo 123 #116, Int. 301Centro06040 Mexico CityMexico

T +52 55 2121 0045M +52 1 55 48378190info@lodosgallery.infowww.lodosgallery.info

Lodos

Shown at LISTE:Noah Barker, 1991, USEmanuele Marcuccio, 1987, ITDiego Salvador Rios, 1988, MX

Represented Artists:Noah Barker, USElsa-Louise Manceaux, FREmanuele Marcuccio, ITOa4s, US / NL

Berenice Olmedo, MXDiego Salvador Rios, MXLewis Teague Wright, UK

Noah Barker implements a distantiated logic in relation context and intention. The supplement and echo are recurring motifs that articulate re-arrival or defer - ral to prior projects of his own and others. These are often enmeshed within the architectural vernacular of display while the structural conditions of production get narrativized. Recent emphasis has been given to the oeuvre of Sicilian screenwriter Franco Solinas, the reorganization of Eisenhower’s West Wing, and the Prussian failures at the Battle of Ulm.

Emanuele Marcuccio was born in Veneto to a family of Apulian landowners, giving life to an accent that preserves the worst aspects of both inflections. The indus trial traditions of the north-east accustomed him – from an early age – to the prospect of an entrepreneurial life, but it was the circum-stances of life that led him to deal with art. In an attempt to remedy the nostalgia of a more productive world, his art often relies on local iron and steel industries, with which he shares the same formal priorities: desire for efficiency and hard work. The

war to the formal approximation is the aspect that most characterizes Marcuccio’s practice, despite that, the human tragedy of production as a perpetration transpires in each of his pieces making it profoundly human.

Diego Salvador Rios deals with the realities of production from an existential but also a material perspective. Drawing, writing, found objects and the influence of his intimate surroundings are part of his practice. For LISTE 2019 a dedicated selection of materials from his Proyecto Altavista archives will be on view. The work will manifest the activities that took place between 2015–16. These materials were gathered over the last few years as part of a Praxis Laboratory, and seek to connect political and educational struggles in Latin America with worldwide libertarian educational initiatives and contemporary activist debates.

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Andrea FourchyDisco Death, 2018Oil on Canvas137.16 × 111.76 cm

Andrea FourchyThe Wave, 2018Oil on Canvas78.74 × 101.60 cm

LomexAlexander Shulan

134 Bowery, #3SNew York, NY 10013USA

T +1 917 667 8541 www.lomex.galleryinfo@lomex.gallery

Lomex

Solo show at LISTE:Andrea Fourchy, 1990, US

Represented Artists:Danica Barboza, USRobert Bittenbender, USAndrea Fourchy, USMarc Kokopeli, US

Valerie Keane, USKye Christensen-Knowles, USMaggie Lee, USEmma McMillan, US

For the 2019 edition of LISTE, Lomex will present a new body of paintings made by Andrea Fourchy. Produced in tandem, Fourchy’s debut fair presentation expresses a cadence of differing styles, motifs, and techniques. At first glance some works appear to be discrete formalist experiments, but taken as a whole, images recur and repeat with their own meter. They are vaguely familiar and perhaps even common images; some are torn from art history or from the artist’s own memory, others are ever-present images everyone regularly encounters throughout the day. Even taken from works Fourchy previously exhibited, in their repetition many of the methods of painting are exposed and explored.

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Miao YingThe formalized abridgment of the supposed sub-stratum of the rational truth, 2018Three-channels video, 10’46”

Miao YingProblematic Gifs, 2016gif

MadeIn GalleryAlexia DehaeneIvy Zhou

2879 Longteng Avenue200232 ShanghaiChina

T +86 21 60709563 info@madeingallery.comwww.madeingallery.com

MadeIn Gallery

Solo show at LISTE:Miao Ying, 1985, CN

Represented Artists:He An, CNLu Boyu, CNLiu Chengrui, CNXu Dawei, CNEliott Dodd, UKMengbo Feng, CNLi Hanwei, CNChen Leng, CNDing Li, CNZhang Lian, CNShang Liang, CNWang Newone, CN

Zhu Payne, CNLu Pingyuan, CNMo Shaolong, CNWang Sishun, CNYang Shen, CNUMA, CNShen Xin, CNZhu Yu, CNMiao Ying, CNZheng Yuan, CNXia Yunfei, CNXU ZHEN®, CN

Miao Ying’s work highlights the attempts to discuss mainstream technology and con-temporary consciousness and it’s impact on our daily lives, along with the new modes of politics, aesthetics and conscious-ness created during the representation of reality through technology. She deliberately applies a thread of humor to her works and addresses her Stockholm Syndrome relationship with cultural and socio-political power, such as censorship and self- censor ship, lifestyle branding and ideol-ogies in general.

Her recent website and installation work ‘Hardcore Digital Detox’ (2018), hardcoredigitaldetox.com, is a Strategic Lifestyle Advice tool with the seemingly illogical premise of offering an online retreat from the digital world. The work parodies the widespread commodification of ‘wellness’ in Western societies and empha sises the fallacy of a global internet culture while simultaneously underscoring the undemo-cratic use of networked power in both China and the United States.

Formally and thematically, Hardcore Digital Detox pursues Miao’s ‘Chinternet Plus’ (2016), also composed of a web- site chinternetplus.com and an installation. “Internet Plus” is a strategy that was proposed by China’s Premier of the State Council in 2015 to apply cloud computing and big data to traditional industries with an aim of rebooting them. Miao’s project is what she describes as the official un-veiling of a “counterfeit ideology,” a parodic take on the original strategy of Internet Plus. The work is essentially a guide for how to brand an insubstantial idea, suggest-ing that, in the case of political branding in particular, media can easily stand in for the message.

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Buhlebezwe SiwaniJoyce, 2016ink-jet print on Epson hot press natural100 × 100 cmEdition of 4 + 2 AP

Belén UrielDouble leaf, 2015canvas, vinyl acetate, gesso, papier-mâché, cardboard and metal wire76 × 67 × 48 cmunique

MadragoaMatteo ConsonniGonçalo Jesús

Rua do Machadinho 451200-705 Lisboa Portugal

T +351 21 390 1699M +351 91 737 7046

info@galeriamadragoa.ptwww.galeriamadragoa.pt

Madragoa

Shown at LISTE:Buhlebezwe Siwani, 1987, ZABelén Uriel, 1974, ES

Represented Artists:Adrián Balseca, ECSara Chang Yan, PTRodrigo Hernández, MXLuís Lázaro Matos, PTRenato Leotta, IT

Joanna Piotrowska, PLGonçalo Preto, PTBuhlebezwe Siwani, ZABelén Uriel, ES

Madragoa’s project looks at the practice of drawing as an expanded field, focusing on the sculptural potential of paper. It also revolves around the artists’ interest in unveiling the ritualistic elements embed-ded in common objects and in everyday practices, from the act of cleansing to enter-tainment and pure consumption. Buhlebezwe Siwani (Johannesburg, 1987. Lives and works between Cape Town and Amsterdam) has a multidisciplinary practice that includes video, drawing, and installation in relation to the performative and bodily act. Siwani’s artistic production is strongly correlated with her practice as an initiated sangoma, a spiritual healer that works within the space of the death and the living. For LISTE,she produced a new series of soap drawings that evoke the act of cleansing, especially in relation to the black body. Green soap is a well-known and used product in South Africa’s rural areas by people with modest socio-economic conditions. The newly produced, large-size drawings hang from the ceiling and touch the ground: their monu-mental proportions do not adhere directly

to a human body,but suggest a collective dimension. Their appearance evokes a graffiti-like urban intervention, reminding another kind of impurity. Belén Uriel’s (Madrid,1974. Lives and works between Lisbon and London) research stems from the observation of everyday objects, investigating their sculptural poten-tial beyond their functionality. For LISTE, Uriel presents a group of sculptures titled ‘Segunda-feira’ which originates from the observation of those “temporary sculp-tures” used to decorate beds in hotels or dinner tables, created by folding common napkins. The napkins have been fixed in their position with plaster, and the resulting sculptures are displayed on papier-maché plinths that replicate the designs of plastic laundry baskets. Each of the sculptures breaks the natural cycle of life of an object that is to be cleaned and reused and em-phasizes the moment of a small celebra tive act.

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Regina de MiguelPetrópolis, 2019Watercolor on Hahnemühle paper56 × 42 cm

MaisterravalbuenaBelén ValbuenaPedro Maisterra

Calle Doctor Fourquet 628012 MadridSpain

T +34 91 173 30 34 galeria@maisterravalbuena.comwww.maisterravalbuena.com

Maisterravalbuena

Solo show at LISTE:Regina de Miguel, 1977, ES

Represented Artists:A Kassen, DKJosé Luís Alexanco, ESSilvia Bächli, CHAntonio Ballester Moreno, ESKarmelo Bermejo, ESJosé Damasceno, BRRegina de Miguel, ESJerónimo Elespe, ESMaría Luisa Fernández, ES

Antonio Fernández-Muro, ESSarah Grilo, ARDaniel Jacoby, PEMaria Loboda, PONéstor Sanmiguel Diest, ESHiraki Sawa, JPDan Shaw-Town, USCristián Silva, CLB. Wurtz, US

Audax Viator (the Audacious Traveler) is the name of a bacterium whose distinguish-ing feature from other life forms is its ability to live in complete isolation, even with-out oxygen and in absolute darkness. It is a microorganism that forms the first ecosys-tem of a single species discovered on Earth, being able to extract everything it needs to live from an environment that is already dead thanks to the existence of minerals in environments where photo-synthesis is not possible. Audax Viator was discovered in a South African gold mine more than 3,000 meters below the earth’s surface, becoming a form of life on Earth that, because of its extreme condition, with confirms the possibility of potential life on other planets with conditions very diffe r-ent from those of Earth, for example Mars or Enceladus, one of Saturn’s moons.

Regina de Miguel’s project understands the exhibition medium as a tentative-political organism in which the artist’s works function as elements endowed with life, within a hybrid space that focuses on two main notions: the temple and the laboratory.

The temple here appears from the potential of the ritual of passage as a collective action that ignores the constraints of reason or the productivist demand of the capitalist ethos of our present, invoking forms of knowledge, also experiential, that put in crisis the social and scientific human appa-ra tus that produces a domain of the real.

The notion of laboratory, appears here as a depopulated scenario of biological principles and forms of life that can be controlled, also from the intelligibility of multiple meanings. As a laboratory, recreates an atmosphere inspired in labora-tories of artificial or in vitro cultures, prioritizing the dysfunctional and monstrous character of life forms that question the human through technology and the material spectrum of a reality shared with other - ness as synthetic life forms, extremephilia, or necropolitics.

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Mathieu Kleyebe AbonnencThe Night Watcher, for Wilson Harris (3), 2018Turtle shell, gallium70 × 58 cmphoto: Aurélien Mole for Marcelle Alix

Marcelle AlixIsabelle AlfonsiCécilia Becanovic

4 rue Jouye-Rouve75020 Paris France

T +33 95 004 1680M +33 63 245 8047

demain@marcellealix.com www.marcellealix.com

Marcelle Alix

Shown at LISTE:Mathieu Kleyebe Abonnenc, 1977, FRMarie Cool & Fabio Balducci, 1961 & 1964, FR & ITLaura Lamiel, 1948, FRCharlotte Moth, 1978, UKGyan Panchal, 1873, FR

Represented Artists:Mathieu Kleyebe Abonnenc, FRPauline Boudry & Renate Lorenz, CH & DEMarie Cool & Fabio Balducci, FR & ITAurélien Froment, FRLola Gonzàlez, FRLouise Hervé & Chloé Maillet, FR & FR

Ian Kiaer, UKLaura Lamiel, FRLiz Magor, CACharlotte Moth, UKGyan Panchal, FRJean-Charles de Quillacq, FRErnesto Sartori, ITMarie Voignier, FR

Within the context of art fairs, we are accustomed to conceiving displays that are as close as possible to our way of doing within the gallery walls. Collective hangings always allow us to re-work more con-sciously and with some distance the ties between the artists of the gallery, drawing from our in-depth understanding of their working process, their studio life and the forms emerging there. These displays are rooted in a desire of immersion or of

“living with” that the context of the fair impedes at will. We recently conceived, at the gallery, an exhibition in which the artworks’ vulnerability was fully assumed. It started with ceramics placed in equilibrium on improvised pedestals and ended with different kinds of objects pre-sented on the floor. The evening of the opening was very busy, but there were no accidents. We later understood that the works, as well as the display itself, had slowed down the visitors’ pace. Every one was moving around carefully as one does in an artist studio, where the accumulation, the stacks and the stratifi-cation become ways of seeing the thought

process differently, sometimes further and more deeply due to the humility that im bues our bodies in this space, which does not seek to entertain. For this year, we let the works speak for themselves, let them take over the space, whether they are hanging or stored. Our work consist in letting them become pieces of life capable of channeling bodies and of remind-ing us that abstraction is not an issue if one endows the object with a life of its own. Thus, we speak of the delicate polychro - my of Gyan Panchal’s sculptures, the biting reds of Laura Lamiel and Mathieu K. Abonnenc, the endless shades of black -ness of Marie Cool Fabio Balducci and the dust greys of Charlotte Moth.The works are somehow at the crossroads of the studio life and the exhibition. This project brings us as close as possible to the engine noise of creation, compelling us to experience forms that are both beautiful and unstable.

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Maggie LeeSecret, 2017Artist’s custom book20.3 × 17.8 × 6.4 cm

Édouard MontassutPatrick Jullien

61 rue du Faubourg-Poissonnière75009 ParisFrance

T +33 616 108 117M +33 631 928 397 mail@edouardmontassut.comwww.edouardmontassut.com

Édouard Montassut

Solo show at LISTE:Maggie Lee, 1987, US

Represented Artists:Marie Angeletti, FRTimothée Calame, CHMarc Kokopeli, USMatthew Langan-Peck, USMaggie Lee, US

Guillaume Maraud, FREmma McMillan, USRiccardo Paratore, DE / ITEirik Saether, NWJean-Michel Wicker, FR

Édouard Montassut is happy to present new works by NY based artist Maggie Lee including a performance called ‘Drop Melody’.

Maggie Lee (1987, US) lives and works in Brooklyn, NY. Recent solo exhibitions include: Édouard Montassut, Paris (2019); Arcadia Missa, London (2018); Lomex, New York (2017); Real Fine Arts, New York (2016); 356 Mission, Los Angeles (2016); LadyBug House, San Francisco (2016). Recent group exhibitions include: Kai Matsumiya, New York (2019); Édouard Montassut, Paris (2017); Whitney Museum of American Art, New York (2016); Lomex, New York (2016); Greene Naftali, New York (2015).

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Rossella BiscottiA shirt, blue pants, blue jeans, a towel, 2018Concrete, various used textilesVariable dimensionsUnique pieces© photo: Christopher Clem Franken

mor charpentier Alex MorPhilippe Charpentier

61 rue de Bretagne 75003 ParisFrance

T +33 1 44 54 01 58 contact@mor-charpentier.com www.mor-charpentier.com

mor charpentier

Shown at LISTE:Rossella Biscotti, 1978, ITChen Ching-Yuan, 1984, TWDaniel Otero Torres, 1985, COThéo Mercier, 1984, FR

Represented Artists:Lawrence Abu Hamdan, LBSaâdane Afif, FR Lara Almarcegui, ESAlexander Apóstol, VEEdgardo Aragón, MXJulieta Aranda, MXMarwa Arsanios, USRossella Biscotti, ITMilena Bonilla, COFredi Casco, COChen Ching-Yuan, TWCevdet Ereck, TR

Voluspa Jarpa, CLTeresa Margolles, MXEnzo Mianes, FRThéo Mercier, FRCarlos Motta, COOscar Muñoz, COYoshua Okón, MXUriel Orlow, CH Daniel Otero Torres, CORôsangela Rennó, BRCharwei Tsai, TW

For LISTE 2019, mor charpentier proposes to question memory and lost identities. From Rossella Biscotti to Daniel Otero Torres through Chen Ching-Yuan and Théo Mercier, this project aims to subvert the normal logics that govern contemporary societies struggling with the emergence of an identity crisis.

Under the title ‘A shirt, blue pants, blue jeans, a towel’ – inventory of textiles that were collected at the Kunst-Station Sankt Peter in Köln – Rossella Biscotti gath ers a group of concrete spheres. The fabrics that were cast into concrete are suggesting a concealed past. Personal objects and history are the starting point for reflection on identity through society and commu - nity, and on the representation of memories, playing between visible and invisible.

Daniel Otero Torres’ new project FLP (Frente de Liberación Popular), consist of totem-like sculptural drawings, presenting Otero’s research into the role of female freedom fighters, from Mexican ‘soldaderas’ to Kurdish combatants. Otero

Torres is seeking to elevate their combined stories to a monumental proportion, one that is inversely proportional to the insignifi - cant recognition these women have had in the history of their own countries.

Chen Ching-Yuan is highlighting the weight of history and social conventions on the individual, in his haunting, surrealistic representation of daily life. His new oil paint-ings act as visual metaphor to articulate the ambiguity and perplexity of national politics in a Taiwan torn between its own identity and that of mainland China.

Théo Mercier’s practice is directly questioning our current idea of identities by breaking the rules of representation. His three-dimensional new productions could be seen as collage, deconstructing common preconception by collecting elements that were not expected to meet, mixing with his own sculptures, objects or artefacts collected during his travels.

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Yukihiro TaguchiOkurimizu, 2018video10' 1"

Mujin-to ProductionRika Fujiki

5-10-5 Kotobashi, Sumida-ku130-0022 TokyoJapan

T +81 3 6458 8225M +81 90 9180 1217

info@mujin-to.comwww.mujin-to.com

Mujin-to Production

Solo show at LISTE:Yukihiro Taguchi, 1980, JP

Represented Artists:Yoko Asakai, JPKazuhiko Hachiya, JPTsubasa Kato, JPSachiko Kazama, JPMeiro Koizumi, JP

Osamu Matsuda, JPChim Pom, JPYukihiro Taguchi, JPRyohei Usui, JPLyota Yagi, JP

Berlin based artist Yukihiro Taguchi has garnered much attention for his unique

“performative installations,” which combine elements of drawing, performance, ani-mation and installation, getting inspiration from and capturing the feature and history of the place where he engages. Taguchi’s humorous and quick-paced artworks are made using stop motion, employing found objects as his work’s main player and controlling them closely and carefully in order to archive his vision. The installations and performances of Taguchi are tempo-rary interventions that change the view of familiar things and surroundings. Taguchi has been conducting his projects in number of places in Europe such as Germany, England, Belgium, Austria and Portugal as well as Cuba, Brazil, Kenya, Maldives, New Zealand, Hong Kong and Japan, reflecting uniqueness of each place in his creation.For solo presentation at LISTE, Taguchi combines his video works he has created while he was in artist in residency pro-grammes in Japan and numerous drawings which are result of his daily psychological

and artistic practice to create an installa- tion as a whole. The installation at the booth will change little by little during the fair period, adding more sketches and shifting their positions, as enacting his “performative sketch” entitled Über in 2009. The whole process of transformation as well as his per formance, which will take place outside the booth and beyond will be photo- graphed and then assembled into a stop motion animation at the end. The visitors and passersby will be a witness as well as a col laborator of his creation as a result.

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Benji BoyadgianPermanent A, 2013Water color and pencil on cotton rag paper80 × 80 cm

Öktem AykutTankut Raşit AykutDoğa Öktem

Aybastı Sokak 334430 IstanbulTurkey

T +90 533 352 01 67M +90 536 310 76 94

info@oktemaykut.comwww.oktemaykut.com

Öktem Aykut

Solo show at LISTE:Benji Boyadgian, 1983, FI / PS

Represented Artists:Francesco Albano, ITCan Altay, TRKoray Ariş, TRBora Başkan, TRBenji Boyadgian, FI / PSElif Boyner, TRGökçen Cabadan, BE / TRSamuel Laurence Cunnane, IEAret Gicirian, TR

Jennifer Ipekel, ES / TRBorga Kantürk, TRSinan Logie, BETayfun Mumcu, TRİhsan Oturmak, TRToygun Özdemir, TRCamila Rocha, BRTuba Yalçınkaya, TRBegüm Yamanlar, TR

Benji Boyadgian works with research-based projects that materialize as drawings, paintings, videos, installations and sculp-tures. His LISTE presentation puts a new sculptural installation forward, sur- rounded by two series of drawings that belong to Boyadgian’s previous projects.A Jerusalemite of Armenian origin, Boyadgian developed a distinct sensibility for the cultural exchanges and transitivity, particularly within the Middle East. Educated in architecture, he has come to focus on themes concerning urban transformations, heritage, territory, landscape and perception. In his recent projects, Boyadgian present- ed sculptural installations that function as visual devices and objects of refraction. In 2017, at Anadiel in Jerusalem and at the Armenian Triennial in Gyumri, Boyadgian explored different kinds of ‘perception dispositifs’. In his 2018 Jerusalem exhibition at Al Ma’mal Foundation, a non-veridical perception proved central, where he pre-sented a labyrinth-like cabinet of curiosity, juxtaposing objects with their image in a phenomenal appearance.

For LISTE, Boyadgian proposes a more theoretical dispositif that contains different ways to look at a sphere. The device will be centered around three spheres of differ-ent material: Lime stone from Jerusalem, Obsidian stone from Armenia, and a stone made of cement that will function as the replica of the two other stones. The device is shaped like an octagon, every side of the horizontal axis will suggest another way to look at the replica, the two stone spheres, or their images; while the vertical axes are contained between two mirrors. Boyadgian’s recent exhibitions include the one-person Dissolutions at Öktem Aykut and group shows at B7L9 by Kamel Lazaar Foundation in Tunisia, at Depo in Istanbul, at Kunsthalle Exnergasse in Vienna among other exhibitions and projects that took place in Geneva, Isola dei Pescatori, Kyrenia, Lund, Marseille, Ramallah, Sao Paulo and Stockholm.

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Dylan MiraNight Vision, 2018–2019HD video with sound14'

Park View / Paul SotoPaul Soto

2271 W. Washington BoulevardLos Angeles, CA 90018USAT +1 213 509 3518

info@paulsoto.netwww.paulsoto.net

23 Avenue Jef Lambeaux1060 BrusselsBelgiumT + 32 499 828 830

Park View / Paul Soto

Solo show at LISTE:Dylan Mira, 1982, KR / US

Represented Artists:Victoria Colmegna, ARAndy Giannakakis, USAidan Koch, USDylan Mira, KR / USAlex Olson, US

J. Parker Valentine, USMatt Paweski, USAutumn Ramsey, USMark A. Rodriguez, USKate Spencer Stewart, US

‘밤시각 Night Vision‘ (2018–2019) is an experimental video by Korean American artist Dylan Mira centering around shamanism and ecofeminist ritual practices across the Asian diaspora. It is inspired by two family stories of transgression that span a century: Mira’s great-grandmother, who lived as a shaman under the Japanese Occupation when the practice was out-lawed; and her uncle, who drove his motor-cycle across the 38th parallel to North Korea.

The work traces Mira’s 2018 journey in South Korea from the matriarchal island of Jeju to the preserved ecosystem of the Demilitarized Zone (DMZ). Following reports that endangered tigers (a shaman spirit animal and symbol of Korea not seen since the war) may live in the DMZ, Mira began to practice the animals’ gestures at the bor- der in hopes of connecting to them.

While filming with an infrared night camera, a glitch appeared in her footage that repeat-ed and layered her scenes, making fig - ures seem to double, even to fly. This visual

accident transposed Mira as a tiger across the most guarded military landscape in the world.

She invites us into the process of seeking aid from nonhuman life forces, and we are drawn into this narrative through her own biography and physical acts.

Dylan Mira was born in 1982 and she lives and works in Los Angeles. She received her BFA from the School of the Art Institute of Chicago and her MFA from UCLA. Her works have been exhibited at Museum of Contemporary Art, Los Angeles; Seoul Museum of Art; ICA Miami; Portland Institute of Contemporary Art; Disjecta Contemporary Arts Center, Portland; LAXART, Los Angeles; and Participant Inc., New York, among others.

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Liv SchulmanControl s03e03: The Taxi Resistance, 20169' 52" HD Video

Liv SchulmanControl s03e03: The Shamanic Resistance, 20167' 59"HD Video

PIEDRASRafael BeltránSantiago Gasquet

Avenida Rivadavia 2625 41034 Buenos AiresArgentina

T +54 11 2065 9844M +54 9 11 2541 6000

info@espaciopiedras.comwww.espaciopiedras.com

PIEDRAS

Solo show at LISTE:Liv Schulman, 1985, AR

Represented Artists:Beto Álvarez, ARClara Esborraz, AREstrella Estevez, AR / FRSantiago Gasquet, ARTeresa Giarcovich, AR

Constanza Giuliani, ARCarla Grunauer, ARMónica Heller, ARFátima Pecci Carou, ARLiv Schulman, AR

Paris-based Argentinean artist Liv Schulman’s focuses her work in the performative capacity of language for creating new relations that re-interpret affects and bodies under our current economy. Liv Schulman’s work deals with the place of subjectivity within the political space, the difficulty of giving it credit. It makes us adhere to its theses at the same time as it scuttles them. In the unbeliev ing belief of her production, to create implies to experience directly a medium, a system, a subject. Through the use of video, humor, sculpture and absurdity the artist develops a television series in which a recurrent character wanders between episodes at-tempt ing to establish new relations of meaning. The sole protagonist, played by different actors and actresses, is a detective taken straight from a detective novel. The commonplace of this cynical figure acts as a discourse producing tool; considerably astray in a maze of stories whose meaning has been forever lost, he / she incarnates a person who has access to hidden facts, invisible systems, and the occult parts of the world, and imparts her / his paranoid con-clusions in a disillusioned way. Merging with

one another, these distinct forms of dis-course become absurd and crazy tools of a paranoid interpretation of the social world, based on the alienation of bodies, the devalu-ation of identities, and the complexities of desire for meaning.

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Agata IngardenThe Mirror 1, 2018painted metal, acoustic foam and butterflies crystalized in salt220 × 60 × 60 cm

PiktogramMichał Woliński

Kredytowa 900-056 WarsawPoland

M +48 50 157 0076 info@piktogram.orgwww.piktogram.org

Piktogram

Solo show at LISTE:Agata Ingarden, 1994, PL

Represented Artists:Florian Auer, DEKrystian Truth Czaplicki, PLPaul Czerlitzki, PL / DELinda & Daniela Dostálková, CZ

Zuza Golińska, PLAgata Ingarden, PLDorota Jurczak, PL

Agata Ingarden’s solo presentation at LISTE consists of works selected from her graduation project, The House. Starting points for the works are, a lodging house on the Adriatic coast, emptiness and boredom. The artist’s invented narratives fill these spaces.The stories emerge from gray ceramic vases / amphoras, glazed inside, opening at the bottom. These objects, produced to trans port goods in ancient times, become containers for words – modern mytho - l ogies, modifying and transforming the voice in their sculpted forms. Their outside surfaces present tags – written residuals of stories that have been diffused within them.Other works function as screens. Their forms – resembling a sun-bed, a solar panel or a coastal cliff – evoke a sense of warmth and comfort. Reminiscent of surveillance radars or satellite antennas, recalling sun-flowers or mirrors turned towards the sun or the viewer.Technically, the panels are filled with acous tic foam covered with crystallized salt. Salt settles on these panels like layers of dust or perhaps overheard stories.

The amphoras transmit, the screens focus and cumulate, the foam absorbs, the salt preserves.There are nine short novels being dif fused from the vases. These take place some-where on a Mediterranean island in a holi-day house. The six videos show different aspects of the House as an uninhabited location. Represented environment vibrates, moved by electricity, whispering news from television screens, changing tides and weather, coordinated animal move-ments. Found objects merge with sculptures and become animated. It is unsure wheth- er this curious set has been affected by the events described in the novels, or, if it is about to provoke them.The location is transformed by the camera’s semi-objective, documentary-like point of view into a self-organized microcosm, where unfolding narratives modify the land scape and where fictions emerge from the reality we look at.

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Gabriel PericàsPendulum (Mouse Ball, Horse Tail) #3, 2017Steel, rubber and hair from a horse tail47 × 2 × 2 cm

PM8Francisco Salas

Pablo Morillo 8 Bajo36201 VigoSpain

T +34 986 434 333M +34 667 557 596

galeria@pm8galeria.comwww.pm8galeria.com

PM8

Solo show at LISTE:Gabriel Pericàs, 1988, ES

Represented Artists:Martha Araújo, BRGabriel Borba Filho, BRDaniel Chust Peters, ESLoreto Martínez Troncoso, ESElena Narbutaitė, LTRosalind Nashashibi, UK

Jesús Pedraza Villalba, ESGabriel Pericàs, ESAlgirdas Šeškus, LTGintautas Trimakas, LTAdán Vallecillo, HN

Gabriel Pericàs’ practice consists of three parts, all equally relevant, that are interconnected to create a complex conceptual landscape.

Since 2010, he has been working on a series of performative lectures. The artist delivers a spoken narration, commenting on images and objects through associations and speculation. Pericàs unpacks a number of research topics in an essayistic fashion, these comprise from design history to banal anecdotes. A written script / transcription is usually distributed, in the form of a book or PDF file, as part of the work.

Gabriel Pericàs’ studio practice mainly comprises objects and images. The formal appearance of these works is subordinated to the fact that they are often linked to an action, a process or a backstory. Thus, they are meant to hold certain degree of obscurity, an enigmatic quality aimed to arouse the spectator’s curiosity. The piece’s hypertext is sometimes encountered as a written text in a portfolio, sometimes is spread by word of mouth in the form of

a rumor and sometimes simply does not exist or points towards a confusing irrelevance.

Also, following his interest in the dissemi- na tion of contents, he has a practice as an editor. Pericàs publishes books by other artists under Biel Books (bielbooks.com), a small-scale publishing house that he created in 2013.

Pericàs’ practice is informed by an on- going research that spans across various topics and sources. It involves both theoretical study and material experimenta-tion. The artist is interested in the way knowledge and history circulate embed- ded into objects (also bodies and books). Objects that, in turn, have their own physical particularities. It is in that sense that his practice is operating in the dialectical tension that occurs between conceptual dichotomies: material and immaterial, information and knowledge, but also libidi- nal and rational energies, relevance and irrelevance, weight and velocity, etc.

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Pakui HardwareExtrakorporal, 2018Glass, faux-fur, leather, latex rubber, metal holdersInstallation view at Bielfelder Kunstverein, Germany, 2018

Jakub ChomaContinual Interruption (eggshell mind), 2018mixed media180 × 84.5 × 28 cmdetail

PolanskyFilip Polansky

Veletrzni 4517000 PragueCzech Republic

Lidicka 2660200 BrnoCzech Republic

M +420 606 513 720info@polanskygallery.comwww.polanskygallery.com

Polansky

Solo show at LISTE:Jakub Choma, 1995, SKPakui Hardware, 1984/1978, LT

Represented Artists:Quirin Baumler, DEJulie Béna, FRJakub Choma, SKMilena Dopitova, CZAdam Holy, CZVladimir Houdek, CZ

Tillman Kaiser, ATLukas Karbus, CZKristof Kintera, CZMartin Kohout, CZRoman Stetina, CZ

The joint installation of Pakui Hardware and Jakub Choma creates a tension between archetypal morphology and eclectic design. One can easily turn into the other, it simply depends on the speed of con-nection – atavism online. A myth becomes a successful brand and vice versa. Metamorphosis is omnipresent in the same way as bodies without organs. Nothing more than the ‘skin and bones of a disorga -n ized body’. Displayed artifacts fall apart into fragments that again mutually fit into each other and blend into an infinite loop of frozen time. Ovidius with Kafka in a live stream. The result appears logical to the point of inhumanity. As if artificial intel-ligence tried to reconstruct its own archaeo-logical discoveries through available online information, google images and dystopian movies. A scientific display en counters a haunted castle, cheap movie props encounter perfect craftsman- ship – hypertrash Arts and Crafts. The whole installation is veiled in a large semi-transparent advertising banner with a print by Jakub Choma. The nebula of the synthetic fabric swallows the showcased

objects and wipes out the differences be-tween the individual materials. The visitor can view the banner as a barrier creating a distance and enhancing inaccessibility, or as a barrier separating the external and internal space, thus enhancing the inti-macy of the experience. Fetish as carrot and stick.

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Peter Friel and Calvin GlazeRich and Famous Magazine (Issue 1), 201720 × 28 cmmagazine

Bonny PoonNathaniel Monjaret

36 Avenue D’Italie, Tour Rubis75013 ParisFrance

T +33 7 62 32 34 48 info@bonnypoon.comwww.bonnypoon.com

Bonny Poon

Shown at LISTE:Victoria Colmegna, 1986, AR Peter Friel, 1990, USNik Geene, 1986, DE Marie Karlberg, 1985, SE Kunle F. Martins, 1980, US Bonny Poon, 1987, CA

Represented Artists:Victoria Colmegna, ARJacqueline Fraser, NZPeter Friel, USNik Geene, DE

Hope, DEMarie Karlberg, SEIlya Lipkin, USBonny Poon, CA

As a gallery, we have set out to empha - size relations over contracts: on top of making livelihoods, we are building a “family” in this insane world – building allies.

The booth is an ecosystem. While nature appears dissonant and violently chaotic, it is deeply organized, networked, and organic. There is no waste.

Some people say insanity is the only sane response in a mad world.

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Radamés “Juni” FigueroaCocos de la ruta a Piñones, 2018Polystyrene and acrylic paint, strawsDimensions variableCourtesy of the Artist and Proyectos Ultravioleta, Guatemala City

Akira IkezoeCoconut Heads on the Diagram of the Solar Thermal Power Plant, 2018Oil on canvas127 × 157.5 cmCourtesy of the Artist and Proyectos Ultravioleta, Guatemala City

Proyectos UltravioletaStefan Benchoam

21 calle 11-09 z101001 Guatemala CityGuatemala

T +502 2253 9288M +502 4215 4633

hola@uvuvuv.comwww.uvuvuv.com

Proyectos Ultravioleta

Shown at LISTE:Akira Ikezoe, 1979, JPRadamés “Juni” Figueroa, 1982, PR

Represented Artists:Hellen Ascoli, GTStefan Benchoam, GTAlberto Rodriguez Collia, GTRadamés “Juni” Figueroa, PRRegina Jose Galindo, GTAkira Ikezoe, JPBuro de Intervenciones Publicas, GT

Jessica Kaire, GTJorge de Leon, GTFelipe Mujica, CLJesus “Bubu” Negron, PRNaufus Ramirez-Figueroa, GTVivian Suter, ARJohanna Unzueta, CLElisabeth Wild, AT

Coco. ‘Cocos’. Coconut. Coconuts. Lots and lots of Coconuts. Everywhere. On the floor, under the table, off the walls, on the paint ings. Coconuts. ‘Coconut Heads’. Coconut heads in their day to day. Coconut heads in Thermal Energy. Coconut heads in Museums.

In Akira Ikezoe’s paintings, human-like characters who have coconuts for heads are seen performing a wide range of playful actions, that successively reveal the idiosyncrasy and absurdity of con- tempo rary society. Further, the way in which the paintings are composed create narra-tives that evoke ‘surrealist’ free association and traditional ‘enoki’ paintings from Japan, through which anthropomorphised animal caricatures satirize society altogether.

Radamés “Juni” Figueroa’s coconut sculptures are directly inspired by the ways in which real coconuts adorn small vernac-ular beach bars in his native Puerto Rico. Seen as still lives, these sculptural installations allow viewers to temporary

discolate to the tropics, and transform the space they inhabit into a surrealist setting where coconuts proliferate and people come together to celebrate life.

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Dominika OlszowyFountain of Abundance, 201630 × 50 × 50 cm

Dominika OlszowyFountain of Abundance (Detail), 201630 × 50 × 50 cm

Raster

Shown at LISTE:Rafał Bujnowski, 1974, PLDominika Olszowy,1982, PL Michelle Rawlings, 1980, USJanek Simon, 1977, PL

Represented Artists:Azorro, PLOlaf Brzeski, PLMichał Budny, PLRafał Bujnowski, PLSławomir Elsner, DE/PLOskar Dawicki, PLAneta Grzeszykowska, PLKarolina Jabłońska, PLZbigniew Libera, PLMarcin Maciejowski, PL

Przemek Matecki, PLBartek Materka, PLDominika Olszowy, PL Michelle Rawlings, USZbigniew Rogalski, PLZofia Rydet, PLWilhelm Sasnal, PLJanek Simon, PLSlavs and Tatars

For LISTE 2019 Raster presents a selec- tion of recent works by the gallery’s artists, focussing on humans’ flexible identities in the context of digital imagery and ana-logue crafts.

Dominika Olszowy, who will have her first solo show at the gallery in September, deals with prophecies, omens and economies of earthly comfort and eternal rest. She creates objects, installations, performances, animations and theatrical stagings alluding to the surrealist imaginarium but composed into contempo-rary, posthumanist narratives, seductive in their sense of humour.

In the ambiguous paintings from the series ‘The Last Day of Summer’, Rafał Bujnowski explores the theme of the politics of light and painterly illusion in the context of human skin colour.

Janek Simon’s ‘Polyethnic’ is a series of sculptures printed at home using a 3D printer and representing figures that merge ethnic motifs from India, Africa, South

America, Europe, and Poland. The prefix poly-, from the Greek ‘polus’, means

“much,” “many,” “multiple”; ethnic denotes affiliation with a particular culture, com-munity or nation. The sculptures deconstruct seemingly homogenous identity concepts, which in reality emerge through complex symbolic and cultural processes, con- stantly (re)constructed and (re)negotiated.

Michelle Rawlings’ intimate-scaled works are a study of contemporary visual culture from a woman’s or girl’s perspective. Rawlings is interested in the collision of the traditional painterly medium and the modernist language of abstraction with digital reality: the structure of pixels and the dynamic of social media. Her works combine the lightness of virtual images with festishistic quality of materials, the canon of art history with the spontaneous and random nature of the Instagram profiles of teenage girls.

RasterŁukasz GorczycaMichał Kaczyński

Wspólna 6300-687 WarsawPoland

T +48 784 588 854 info@rastergallery.com www.rastergallery.com

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0 / 3 / 1ROH ProjectsLaksamana Tirtadji

Jl. Teuku Umar No. 37, Menteng10350 JakartaIndonesia

M +62 81 1166 2311 info@rohprojects.netwww.rohprojects.net

ROH Projects

Solo show at LISTE:Aditya Novali, 1978, ID

Represented Artists:Syaiful Garibaldi, IDFeisal Habibi, IDCinanti Astria Johansjah, IDAditya Novali, IDBagus Pandega, ID

Uji “Hahan” Handoko Eko Saputro, IDArin Dwihartanto Sunaryo, IDSyagini Ratna Wulan, ID

For the past few years, Novali has been developing a series of abstract paintings on plexiglass and rotatable forms through a multifarious array of pigmentation and highly intricate, repetitive, and complex gestures. A single rotatable painting consists of stacks of rectangular or triangular bars, with each side depicting a unique painting, which could be turned and combined in dialogue with one another; while the trans-parent surface of plexiglass interplays with both light and shadow as essential mediums within and of themselves, generating a constant transmutation of compositions with in compositions. Altogether, Novali creates a body of work with multiple forms and sides. In his exploration, Novali delves into tensions between uncertainty and what are perceived to be systematic struc tures. His preliminary editions to the series Abstract Logic have explored the multifaceted dialogues between probabili-ties and artificial variables, such as games of dice, and internet algorithms; while the more recent Mooi In(Die) series sug-gests an alternative twist to the prevalent notion of landscape.

Aditya Novali (b. 1978) is an artist based in Surakarta, Indonesia. He obtained aca-dem ic trainings in both Architecture and Conceptual Design through his Bachelor’s and Postgraduate studies in 2002 and 2008, respectively in Parahyangan Catholic University, Indonesia; and Design Academy Eindhoven, The Netherlands. Novali’s work has been exhibited all over the world, some including The 9th Asia Pacific Triennial of Contemporary Art (APT9) (2018), QAGOMA, Brisbane, Australia; Diaspora: Exit, Exile, Exodus of Southeast Asia (2018), MAIIAM Contemporary Art Museum, Chiangmai, Thailand; Sunshower: Contem-porary Art from Southeast Asia 1980s to Now (2017), Mori Art Museum and The National Art Center, Tokyo, Japan; Age of Hope, Biennale Jogja XIV – Equator #4 (2017), Jogja National Museum, Yogyakarta, Indonesia; Imaginary Synonym (2016), Tokyo Wonder Site, Tokyo, Japan.

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Nona InescuLithopedic, 2018Digital photograph

SabotDaria Dumitrescu

12 Horea str., ap. 10400038 Cluj-NapocaRomania

T +40 26 453 6541M +40 72 322 4105

info@galeria-sabot.rowww.galeria-sabot.ro

Sabot

Solo show at LISTE:Nona Inescu, 1991, RO

Represented Artists:Răzvan Botiș, ROStefano Calligaro, ITAline Cautis, USRadu Comșa, ROCamilia Filipov, ROJoe Fletcher Orr, UKLucie Fontaine, FR

Nona Inescu, RONicolás Lamas, PEAlex Mirutziu, ROVlad Nancă, ROPepo Salazar, ESAlice Tomaselli, ITAlexandra Zuckerman, IL

‘Would you like some cheese?’, asked Mary. / He shook his head. ‘You look very happy. Have you found something else?’ / Mary nodded eagerly and handed him another fossil she had cleaned. It was the round, knobbly kind. / ‘Tis one of them verterberries,’ she said. / Geoffrey looked puzzled, till it dawned on him. ‘Oh, you mean vertebrae!’ / ‘That’s right, a verterberry.’ / Geoffrey looked at the fossil with more interest. ‘It can’t be,’ he said at last. / ‘Why not?’ She was angry at once. / ‘It’s much too big,’ he explained. (excerpt from ‘The Crocodile’, by John Tully)

Nona Inescu is the Mary Anning* of con temporary art. She goes back to the bare-bones of the world, looking for pristine forms of life bursting from an all-inclusive, universal Lagerstätten. Her curiosity bears an almost tactile nature, a desire to touch the ‘materia prima’ of this world and, upon touching it, to walk us through noo-sphere and beyond, towards a place where pre, neo, geo, bio, cyber, techno live in absolute accord.

“Contact is crisis”, she says, inspired by a quote from “Before Sexuality: The Construc-tion of Erotic Experience in the Ancient Greek World”, by Anne Carson. If contact is crisis, Inescu’s touch is here to trigger the renaissance of all senses and sensibil-ities: polyphony is the key tone of her work, while metamorphosis is its outer body.Mirroring her research-driven artistic practice, Nona Inescu’s proposal for LISTE is ‘a natural history museum simulacrum’ dedicated to hybrid forms of past lives as seen from the future. Easily recognizable museum elements – such as display mecha- nisms and stanchions – are subverted and thus become part of a fluid, hybrid body blurring the lines between the animal, vege-tal, and mineral worlds.

*Born in 1799; Mary Anning was an English fossil collector and palaeontologist, remembered as one of the greatest fossil hunters to have ever lived.

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Cristian RăduțăGolden Records #7, 2018–2019cast aluminum, resin, paint, print on aluminumvarious sizes between 170 × 30 × 15 cm and 35 × 50 × 10 cm

SandwichSilviu LixandruAlexandru NiculescuDaniela PălimariuCristian Răduță

Strada Băiculești 29013193 BucharestRomania

M +40 74 562 4526M +40 74 310 4745

hello@sandwichgallery.rowww.sandwichgallery.ro

Sandwich

Shown at LISTE:Jin Ningning, 1980, CNDaniela Pălimariu, 1986, ROCristian Răduță, 1982, RO

Represented Artists:Ma Jianfeng, CNZhang Miao, CNAlexandru Niculescu, ROJin Ningning, CN

Daniela Pălimariu, ROCristian Răduță, RODan Vezentan, RO

Sandwich is coming to LISTE with fresh energy and an understanding of what it takes to continue and thrive as a small artist-run gallery in a not-so-central art spot.

When we opened in 2016 as an artist-run space, we started to read the art world and find our honest standpoint within its complicated nets. We knew the particulari-ties of our space – rather an anti-space or an experiment by Gordon Matta-Clark – the pros and cons of it, the rich potential it has in the hands of the right artists. Sandwich will always be a somewhat peculiar project space, but it can become so much more autonomous and brave.

We found the same thoughts and challen - ges with our Chinese colleagues from C5 Art in Beijing, a group that boldly steps up the game in the Chinese art-world, with their incessant and genuine love for the experimental spirit of art. Sandwich is dedicating 2019 to celebrating this fresh and hopefully enduring friendship through a series of events and exhibitions in

our Bucharest space, along with various international joint participations.

At LISTE, we are showing two of the found-ers of Sandwich and one spectacular Chinese artist whose work is transgressing the booth space.The three artists work in very different ways. However, we selected an element suggestive of a survival kit from each: the possibility to rocket-launch animals into space as a last resort for continuation of species (Răduță), the humanizing of Ikea-designed storage boxes (Pălimariu) or a portrait of apathy as ultimate resource (Ning-ning). Whichever of these solutions we choose to apply, one thing we know for sure: Sandwich will break through.

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0 / 4 / 1SANDY BROWNFiona Bate

Göbenstrasse 710783 BerlinGermany

T +49 151 2164 0399M +49 176 476 7074 3

mail@sandy-brown.comwww.sandy-brown.com

SANDY BROWN

Represented Artists:Grace Anderson, AUKamilla Bischof, ATTimothy Davies, UKIlja Karilampi, SENew Noveta (Keira Fox Ellen Freed), UK

Aude Pariset, FRGili Tal, UKAlex Vivian, AUDena Yago, US

Penny Goring is an artist working across mediums. Her work engages with themes such as ‘death, grief, addiction, anger, fear, powerlessness, aging’1 and deals with her past and relationships, as the same objects and images return over and over again: penis-like stumps, conical hat, cuddly ball, trees, red pointy slippers and willowy brunettes who double as Penny and Amelia, an old lover who is now dead2. Goring’s career has been punctuated by long periods of invisibility as she was preoccupied with surviving financially, recovering from an abusive relationship and raising her daughter alone. But she never ceased to make art, on the margins, with materials and techniques that she could easily work with from her home, like collage and sewing; her first exhibition at a commercial gallery occurred recently in November 2016 at Arcadia Missa.

Although Goring’s life and persona are central to her work, her practice is never fully autobiographical: the emotions and feelings conveyed are a calculated

effect, the result of the artist’s skilled use of materials, language and concepts3. While Goring’s artworks come to terms with past traumas and violent characters in her life, they also convey a broader reflection on systemic violence, and in parti-cular, patriarchal violence. As Giulia Smith puts it, ‘they also encapsulate feelings of helplessness and despair triggered by the experience of living a precarious exist-ence as a woman artist, a single mother and a mentally non-normative individual, surviving in a world organised around neoliberal priorities’4.

1: Penny Goring interviewed by Sarah Roselle Kahn, ‘Tower Block 55: A Poem by Penny Goring’, i-D (10 June 2017)

2: ‘Meeting Penny Goring’, Giulia Smith, Arcadia Missa Publications, 2018

3: ‘ Meeting Penny Goring’, Giulia Smith, Arcadia Missa Publications, 2018

4: ‘Meeting Penny Goring’, Giulia Smith, Arcadia Missa Publications, 2018

Solo show at LISTE:Penny Goring, 1962, UK

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Vikenti KomitskiNot Yet Titled, 2019Metal, paint, acrylic, paper, rubberapprox. 124 × 130 × 16 cmCourtesy Sariev Contemporary

Sariev ContemporaryVesselina Sarieva

40 Otets Paisiy Str.4000 PlovdivBulgaria

M +359 88 852 0375 office@sariev-gallery.com www.sariev-gallery.com

Sariev Contemporary

Solo show at LISTE:Vikenti Komitski, 1983, BG / DE

Represented Artists:Rada Boukova, BG / FRLuchezar Boyadjiev, BGPravdoliub Ivanov, BGVikenti Komitski, BG / DELubri, BGStefan Nikolaev, BG / FR

Nedko Solakov, BGKamen Stoyanov, BG / ATValio Tchenkov, BG / DEMartina Vacheva, BGVoin de Voin, BG

In its first year at LISTE, Sariev Contem- po rary presents solo booth of the gallery repre sented artist Vikenti Komitski.He is winner of 2011 BAZA Award for young Bulgarian artist. He has participated in exhibitions in institutions such as Staatliche Kunsthalle Baden-Baden; Muzeon Art Park Moscow; frei_raum Q21, MuseumsQuartier Wien; Ludwig Museum Koblentz.

With his last series of works Vikenti Komitski, born in Sofia, Bulgaria, and based in Berlin, displays the multi-layered sur - face that constitutes an image and that is usually covered over by the flatness of the picture plane. Against the modernist credo of flatness and purity, these large-scale assemblages, made out of found objects and budget shop items, are deliberately multi-dimensional and impure. They literally stand, with one feet, on the scrapheap of con-temporary culture industry, while the other strikes out to push the artistic avalanch es of the last century ever further. The practice of collecting things seems to be the primary gesture that shapes those works, however, more than mere

gatherings of trivia, their formal assem- blage allows for the apparition of the visual unconscious that haunts the post- internet era and that casts a deep crack in its apparent shallowness. Superimposed one on top of the other in an industrial and angular style reminiscent of the aesthetic language of the Bauhaus, con-struc tivism, or the Neo-Concrete movement, the different segments constituting the works add up to a kind of visual rebus, that deliberately plays with our conceptions of image and object, of visuality and spatiality, of trash and art, of the obvious and the secret, of the natural and the artificial. In our digital times, thoroughly altered by the human and his technologies, reminders of the analogue, the non-human, the animal and nature in general enter the works. Yet, these images of birds, trees, etc. are certain-ly altered and deformed by the con struc - tions that hold them. All innocence is long gone.– Angelika Seppi

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Tobias SpichtigDie Stiefel der Nachbarin, 2019Oil and vinyl print on canvas185 × 125 cm

Deborah Schamoni Mauerkircherstr. 18681925 MunichGermany

T +49 89 8004 3097M +49 176 101 9334 3

bureau@deborahschamoni.comwww.deborahschamoni.com

Deborah Schamoni

Shown at LISTE:Flaka Haliti, 1982, XKJonathan Penca, 1988, DETobias Spichtig, 1982, CH

Represented Artists:Gerry Bibby, AUFlaka Haliti, XKJudith Hopf, DEKAYA (Kerstin Brätsch & Debo Eilers), USAileen Murphy, IE

Jonathan Penca, DEEric Sidner, USTobias Spichtig, CHA.L. Steiner, USDavide Stucchi, ITAmalia Ulman, AR

Flaka Haliti (b. 1982, Kosovo) combines in her artistic practice mixed media, sculpture and spatial installation with a decidedly site-specific approach. Appropriation and rearrangement are continuous lines in her works that create not only new aesthetic patterns, but also reflect critically on geo-political borders and the visual constructions of identity.Lately Flaka Haliti has been shortlisted for the Preis der Nationalgalerie 2019. Her works were recently presented in solo exhibitions at National Gallery of Arts, Tirana (2018) and at Kunsthaus Hamburg (2018).

Jonathan Penca (b. 1988, Germany) often addresses in his multifaceted work queer perspectives within collaborative contexts. Following his interest in the conjunctions of natural sciences and popular culture, he depicts in his latest drawings human fig - ures in costumes, each of which repre-sents an “insect of the year”, bringing these unpopular and threatened groups of animals closer to our eyes.Recently Jonathan Penca has presented solo exhibitions as ‘sympathy for the

6-legged’ at Deborah Schamoni, Munich (2018) and ‘whole-year-fee-ding’ at Camera Matteotti, Vienna (2016).

Tobias Spichtig (b. 1982, Switzerland) is an artist whose work ranges from painting to sculpture up to theatrical performances. The motifs of his paintings are often reminis-cent of popular cultural codes from the 1990s as well as of altered icons from art history. Taking up references to everyday life and to our habits of communication, he modifies his subjects by oversizing and reshaping, changing the way they can be perceived.This spring Tobias Spichtig presented a solo exhibition at Museum Folkwang in Essen (2019). Upcoming solo exhibitions include projects at Salts, Basel, and at Centre d’art contemporain – la synagogue de Delme, France, this year.

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João LoureiroThe Phantom, 2008Photography 155 × 125 cm

João LoureiroChandelier, 2013Steel, enamel paint and polyurethane70 × 40 × 70 cm

Sé GaleriaMaria Montero

Rua Roberto Simonsen, 10801017-020 São PauloBrazil

T +55 11 3107 7047 info@segaleria.com.brwww.segaleria.com.br

Sé Galeria

Solo show at LISTE:João Loureiro, 1972, BR

Represented Artists:Arnaldo de Melo, BRCarlos Issa, BRJoão Loureiro, BRDalton Paula, BRDaniel Kairoz / Fagus, BRDeco Adjiman, BRDenise Alves-Rodrigues, BRManata Laudares, BR

Gustavo Speridião, BRMaria Montero, BRMichel Zózimo, BRPedro Victor Brandão, BRPontogor, BRRafael RG, BRRebecca Sharp, BRTraplev, BR

João Loureiro lives and works in São Paulo and his participation at LISTE opens his representation by Sé gallery.

“In a broad sense, through a wide range of subjects and procedures, I’ve been inter ested in certain versions or fictional constructions that are presented as factual, acquiring the character of truth and often replacing original events or things. Even though historical narratives build up gradually with additions and interpre-tations, they usually present themselves as reliable facts. Aware of that, I’ve been researching objects, constructed situations and contexts, clearly artificial or con -cealed, loaded with signs, substitutions, translations, intentions of verisimilitude, deceptions, falsifications, repressed feelings and fantasies, artifices capable of in-ducing an impression of truth, of attributing a value of truth. My practice, therefore, evolves around the doubt, the distrust, the impossibility to fathom things accurately. I can either examine the way in which his-tor ical and fictional narratives shape them- selves, identify organization modes of a

particular system or group, or focus on material culture, the mundane and the ordinary, that I find capable of communicating some of the operational structures of society. The process begins with researching an elected context and often involves a series of negotiations for its realization. In the end, it results in meticulously planned, straight forward and rather con-densed images, objects and installations.”

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Patrick Goddard Contact Us, 2019Cyanotype on beech plywood, UV direct to media print on acrylic81 × 60.5 cm Unique

Patrick Goddard No Raking, 2019Cyanotype on beech plywood, UV direct to media print on acrylic81 × 60.5 cm Unique

SeventeenDavid Hoyland

270–276 Kingsland Road(Entrance on Acton Mews)London, E8 4DGUnited Kingdom

T +44 20 7249 7789M +44 797 222 9395

david@seventeengallery.comwww.seventeengallery.com

Seventeen

Solo show at LISTE:Patrick Goddard, 1984, UK

Represented Artists:David Blandy, UKSusan Collis, UKDavid Raymond Conroy, UKRhys Coren, UKPaul B Davis, USGraham Dolphin, UKJustin Fitzpatrick, IE

Patrick Goddard, UKSachin Kaeley, UKKarin Lehmann, CHSophie Michael, UKJimmy Merris, UKEmily Perry, UKJon Rafman, CA

Patrick Goddard produces politically loaded, narrative-based films that invoke class antagonisms, post-industrialisation, the social geographies of the know - ledge economy, gentrification and the fetishisation of the authentic.

For LISTE, Goddard has created a new video centering on a feral dog racing through a giant abandoned warehouse. The accompanying narration fluctuates between didactic proclamations on post-Fordist economies and self-doubting personal mumblings, and any authoritative tone is undermined by a self-defeating black comedy. The meandering mono- logue touches on Brexit psychologies and indi vidual culpability in this anarcho-poetic anti-manifesto.

Accompanying the video work is a set of cyanotype photographs from Goddard’s latest series, ‘Ghost House’. Images of a city going through rapid architectural and class change are developed directly onto beech plywood. The deep-blue images are inlaid with comic-like drawings printed

on acrylic; as if stickers have been plas - tered over the otherwise earnest photographs. These sneering slogans and parodic characters create a meta-narrative for the implied logic of street photography and its historical claim to rugged realism, eviden-cing the artist’s (fumbled) attempts to create a personal and political integrity.

Patrick Goddard is an artist working in London and completed a PhD at The Ruskin, Oxford University (2019) and an MFA at Goldsmiths University (2011). Solo shows include: ‘Real Estates’ Seventeen, London, 2019; ‘Ghost House’ The Drawing Rooms, London, 2018; ‘Go Professional’ Seventeen, London, 2017; ‘Looking for the Ocean Estate’ Almanac Projects, London, 2016, ‘The Hellish Cycle’ BlackRock / Matt’s Gallery, Gloucestershire 2016; ‘Gone To Croatan’ Outpost Gallery, Norwich, 2015; ‘Revolver II’ Matt’s Gallery, London, 2014.

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Cayetano FerrerRemnant Recomposition, 2014–2019machine tufted patchesdimensions variable Installation View Santa Barbara Museum of Art 2015

Lea CeteraArtist Interview, 2018HD video projection, 14'44"dimensions variable Installation View Expanding Brain, Southard Reid 2018

Southard ReidPhillida ReidDavid Southard

7 Royalty MewsLondon W1D 3ASUnited Kingdom

T +44 020 7734 3333 mail@southardreid.comwww.southardreid.com

Southard Reid

Shown at LISTE:Lea Cetera, 1983, USCayetano Ferrer, 1981, US

Represented Artists:Hany Armanious, AULea Cetera, USBenny Chirco, ITAnn Craven, USCayetano Ferrer, USR.M. Fischer, US

Celia Hempton, UKNeal Jones, UKJoanna Piotrowska, PLPrem Sahib, UKEdward Thomasson, UK

Southard Reid’s presentation will be of work by Lea Cetera and Cayetano Ferrer. It will comprise the latest iteration of Ferrer’s carpet work Remnant Recomposi-tion, a new video sculpture by Cetera, Seafood, and further individual works from Cetera’s vernacular arrangements of objects that reference functional, utilitarian and civic design.Ferrer’s Remnant Recomposition origi -nated in 2014, when shown in its first compo-sition and largest format, at the Swiss Institute in NYC. Taking remnants of Las Vegas casino carpets, Ferrer recomposed the patterns, themselves often replicas of a fusion of historical ornamentation and architectural motif, to fill a large area of the Swiss Institute. He then conceived the work constantly reconfigured, determined by given spaces, at his selection of extrac-tion and rearrangement, until the final fragment / s. Previous iterations include Santa Barbara Art Museum (see image), and Bard Hessel. The embedded flux to the conception of the constantly fragmenting work, consistently further removing material from its source, connects with

Ferrer’s exploration into histories of replica, degene ration and loss. In recent film work Cetera has explored identity within contemporary culture, often stemming from simultaneously wry and profound examination of artistic identity. She binds this with notions of alienation towards the environment, using the media-tion of technology as both format and theme. Her new film, Seafood, 2018–19, shown for the first time at LISTE, utilizes found videos of gutting and re-presentation of fish for consumption as food. The footage, displaying brutally systematic treatment of hyper-beautiful, rare and wild (sometimes still live) sea-life, addresses resources, hun-ting, packaging, luxury, exotification and fetishized imagery. Cetera overlays footage with sub-titled observations and anecdote. The screen is encased in a steel cage locating the work in the sculptural realm, setting up a physical and psychological detachment of experience.

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Raphaela VogelStanton der Barbar, 2018 Oil, oil chalk, silicone and pen on deer, elk and goatskin288 × 212 cm

Galerie Gregor StaigerGregor Staiger

Limmatstrasse 2688005 ZurichSwitzerland

T +41 44 491 39 00M +41 787 59 39 49

info@gregorstaiger.comwww.gregorstaiger.com

Galerie Gregor Staiger

Shown at LISTE:Rachal Bradley, 1979, UKMichael Hakimi, 1968, DEE’wao Kagoshima, 1945, JP / USRaphaela Vogel, 1988, DE

Represented Artists:Rachal Bradley, UKVittorio Brodmann, CHMonster Chetwynd, UK Marie-Michelle Deschamps, CA Florian Germann, CH Sonia Kacem, CHE’wao Kagoshima, JP / US

Brian Moran, US Shana Moulton, US Nicolas Party, CH Walter Pfeiffer, CHLucy Stein, UK Raphaela Vogel, DE

The gallery is pleased to present a project conceived by Raphaela Vogel in conjunction with Michael Hakimi, her former professor at Akademie der Bildenden Künste in Nuremberg, and featuring works by gallery artists Rachal Bradley and E’wao Kagoshima. The presentation at LISTE combines site-specific interventions that adapt to the space as well as to the range of works displayed within it. For more information, please contact the gallery.

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Sonia AlmeidaWriting with bricks, 2018Oil on aluminum and plywood, sliding mechanismPhoto: Tony Luong

Baseera Khaniammuslima, 2018Handmade wool rugs custom designed by artist, made in Kashmir, IndiaEdition of 10Photo: Dario Lasagni

Simone Subal GallerySimone Subal

131 Bowery 2nd FloorNew York, NY 10002USA

T +1 917 409 0612 info@simonesubal.comwww.simonesubal.com

Simone Subal Gallery

Shown at LISTE:Sonia Almeida, 1978, PTBaseera Khan, 1980, US

Represented Artists:Sonia Almeida, PTLarry Bamburg, USJulien Bismuth, FRSam Ekwurtzel, USFrank Heath, USAnna K.E., GEBaseera Khan, USKiki Kogelnik, AT

Florian Meisenberg, DEBrian O’Doherty, IEB. Ingrid Olson, USVeronika Pausova, CZYorgos Sapountzis, GREmily Mae Smith, USJesse Wine, UK

The art of Sonia Almeida and Baseera Khan makes palpable the concate - nation of meaning on the gendered body. Almeida’s nuanced painting practice has investigated through the years the deceptive powers of vision and the various manners in which communicative systems break down. Her most recent paintings situate these urgent observations on the female body. Khan’s work exists in the intersection of Conceptualism, performance, sculpture, and feminism. Her work takes the body, especially her own, as the locus of her investigation into how subjec - tivity is shaped and threatened by social environ ments and capitalist systems.

Sonia Almeida (born in 1978 in Lisbon, Portugal, lives and works in Boston, MA) Solo exhibitions include: Simone Subal Gallery, New York, NY; MIT List Visual Arts Center, Cambridge, MA; Museum of Fine Art, Boston, MA; T293, Rome, Italy. Group shows include: Carpenter Center for the Visual Arts at Harvard University, Cambridge, MA; Fondation Calouste Gulbenkian, Paris; ICA, Boston;

The Serralves Museum of Contemporary Art, Porto, Portugal; deCordova Sculpture Park and Museum, Boston, MA; Marianne Boesky Gallery, New York, NY.

Baseera Khan (born in 1980, Denton, TX) Solo exhibitions include: Simone Subal Gallery, New York, NY (forthcoming); SculptureCenter; Participant, Inc. which toured to Moudy Gallery at Texas Christian University, and Fine Arts Center of Colorado College. Group shows include: The Kitchen, New York, NY; Aspen Art Museum, Aspen, CO;Simone Subal Gallery, NY, NY; MoCA Tucson, AZ; Katonah Museum of Art, Katonah, NY; Paul Kasmin Gallery, New York, NY; 47 Canal, New York, NY. She has performed at the Whitney Museum of American Art, Queens Museum, and ArtPop Montreal International Music Festival.

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Jesse DarlingSphinxes of the gate (Wounded sentry)Sphinxes of the gate (Pet sentry), 2018Steel, cast jesmonite, archival foam, packing foam, pet watering bottle, rubber tube, plinth, perspex case2 parts, each: 150 × 110 × 50 cm

Justin FitzpatrickPortrait of Henri Bergson, 2018, oil on canvas, wood frame, 110 × 90 cm

SultanaGuillaume Sultana

12 rue ramponeau75020 Paris France

T +33 1 44 54 08 90M +33 6 87 24 62 52

contact@galeriesultana.comwww.galeriesultana.com

Sultana

Shown at LISTE:Jesse Darling, 1981, UKJustin Fitzpatrick, 1985, UK

Represented Artists:Pia Camil, MXJesse Darling, UKJustin Fitzpatrick UKJacin Giordano USCelia Hempton, UKMirak Jamal, IR

Emmanuel Lagarrigue, FRArnaud Maguet, FRPaul Maheke, FROlivier Millagou, FRWalter Pfeiffer, CH

Jesse Darling work is broadly concerned with what it means to be a body in the world, though what that means is both politically charged and culturally determined. Their practice draws on their own expe-rience as well as the narratives of history and counterhistory. To be a body is to be inherently vulnerable, which extends to the

“mortal” quality of empires and ideas as a form of precarious optimism – nothing and noone is too big to fail, and this for JD is the starting point for a practice in which fallibility and fungibility are acknowl-edged as fundamental qualities in living beings, societies and technologies. Imagin-ing the ‘high church of the modern’ as a moveable or precarious tabernacle, JD’s works and writing feature an array of free-floating consumer goods, liturgical devices, construction materials, fictional characters and mythical symbols detached from the architectures, hierarchies and taxonomies in which they have their place.In Justin Fitzpatrick’s work, the act of painting is a way to explore the idea of con ceptual metaphors; metaphors that struc ture our world view and perspective.

Painting, in an improvisational mode, can turn the process of metaphor into a visual performance or an evidence, a constant sliding across the surface of a subject, it can enact the semantic jumps the mind makes when likening one thing to another and it provides an evidence of this fundamental activity. Recent works have focussed on diagrammatic, hydraulic imagery, drawing on the visual vocabulary of anatomical drawings, medieval illumi-nation, sci fi book covers and Art Nouveau illustration.

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IsaacLythgoenever land, 2018Polyurethane, urethane, wood, 3d print, stainless steel, Dolce Gabbana jacket210 × 45 × 35 cm

IsaacLythgoebig boy, 2018Polyurethane, pigments, wood, paint, perspex, fabric, hardware, Adidas tracksuit115 × 45 × 30 cm

Super DakotaDamîen Bertelle-Rogier

Rue Washington 451050 BrusselsBelgium

T +32 2 649 17 72 M +32 472 94 78 07

contact@superdakota.comwww.superdakota.com

Super Dakota

Solo show at LISTE:Isaac Lythgoe, 1989, UK

Represented Artists:!Mediengruppe Bitnik, CHJeanne Briand, FRBaptiste Caccia, FRAlex Clarke, UKSarah Derat, FRChris Dorland, CAJan Groover, US

Dean Levin, USIsaac Lythgoe, UKConnor McNicholas, USHugo Pernet, FRAriane Schick, UKJulia Wachtel, US

Super Dakota is delighted to take part in LISTE 2019 with a solo presentation of British artist Isaac Lythgoe. The London based artist focuses on the fictional con -text wherein the work takes shape. The presence of the characters, a time frame, and a location are required for his installations composed of sculptures, neon, fabric, furniture, and other objects to find their meaning. Alongside the narrative imagined by the artist, dreams and the subconscious create temporal and fictional distortions. In this narrative flux, charac -ters borrowed from mythology and pop culture flirt with power, to find themselves trapped as historical landmarks, curled up in a fancy hotel or sitting on top of a CBD skyscraper in a search for eternal youth. The booth, inspired by science fiction aims to create a post-apocalyptic atmos phere in which the viewer is confronted in a dark narration of familiar icons.

“Cities of angels, cities of filth and fineries, cities drugged awake and silent, con scious-ness never asleep. The booth is a step into a clearing, maybe its Waterloo Bridge

still at 4am, maybe its an Alice-esque monopoly board. London landmarks are mounted on the wall, scaled models that appear uprooted from the ground, plucked from the street, their attach ments to the city’s infrastructure left trailing from the bottom, like uprooted trees. These high rise buildings have become both houses and bodies of sorts, forms grafted onto fig - ures architecture eating bodies. They are characters with narrative threats, watchers in the bigger story. Pinocchio, posed, peers down his long nose, following it out of Big Ben’s clock face, his hooves kicked through the sandstone tower, eight fingers holding on for fright.“ – Isaac Lythgoe

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Kayode OjoReaching Out (AU), 2017framed archival pigment print

Installation viewKayode OjoCloser at Sweetwater, Berlin, 2018Left to right: Silver (Dallas) III, 2018; He Valued His Privacy, 2018; Silver (Dallas) II, 2018; Silver (Dallas) I, 2018

SweetwaterLucas Casso

Kottbusser Damm 710967 BerlinGermany

T +49 30 2861 0803M +49 178 521 2531

info@sweetwaterberlin.comlucas@sweetwaterberlin.comwww.sweetwaterberlin.com

Sweetwater

Solo show at LISTE:Kayode Ojo, 1990, US

Represented Artists:Christopher Aque, USKayode Ojo, US

Gaby Sahhar, FRJesse Stecklow, US

Kayode Ojo’s work explores the inter-section of interpersonal relations, popular culture, ersatz glamor, and mass-produced materials through sculpture, photography, and video. His sculptures take the form of ready-made assemblage, frequently constructed from glass, mirrors, clothing, and furniture, accented with rhinestone or acrylic jewelry; their shape is informed by specific events, locations, or scenes from films. Through photography, Ojo documents spontaneous moments using a 35mm point-and-shoot camera, often capturing deeply private scenes of closeness or vulnerability. Ojo typically exhibits his photographs in series, with related images selected from an archive of thousands of photographs spanning years. His cool, deliberate sculptures and candid, intimate photographs consider how the objects with which we surround ourselves, the clothes we wear, and the culture we consume affect our behavior, desires, relationships, and identity.

Kayode Ojo (*1990, Cookeville, United States) lives and works in New York. His solo

exhibition ‘Closer’ was the inaugural exhibition at Sweetwater in September 2018. Previous solo and two-person exhibitions include ‘You dressed him like me?’, curated by Gea Politi and Cristiano Seganfreddo, Via Durini 24, Milan (2019); ‘Equilibrium’, Martos, New York (2018); ‘Betrayal’, Balice Hertling, Paris (2018); ‘Kayode Ojo, Zoe Leonard’, Paula Cooper, New York (2018); ‘Running on Empty’, And Now, Dallas (2018); ‘Taye Diggs’, Motel, Brooklyn (2017); ‘maybe no one will notice’, Guertin’s Graphics, Brooklyn (2017); ‘and you gotta keep your head up but you can let your hair down’, 55 Gansevoort, New York (2014). His work has been featured in Art in America, Cultured Magazine, CURA., Flash Art, Forbes, The New York Times, and Vulture, among others; portfolios of his photography have appeared in Studio Maga-zine and Texte zur Kunst.

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Julie BénaAnna & the Jester in Window of Opportunity, 20193D animation 17' 37"Coproduction: Jeu de Paume, CAPC Bordeaux et Museo Amparo, Puebla© Julie Béna et Galerie Joseph Tang

Galerie Joseph TangJoseph Tang

1 rue Charles François Dupuis75003 ParisFrance

T +339 53 65 55 35M +336 70 22 04 79

info@galeriejosephtang.comwww.galeriejosephtang.com

Galerie Joseph Tang

Solo show at LISTE:Julie Béna, 1982, FR

Represented Artists:Sean Bluechel, USJulie Béna, FRAdam Cruces, USWojtek Doroszuk, PODaiga Grantina, LVJames Lewis, UK

Alexander Lieck, DEChloe Quenum, FRCarlos Reyes, USPepo Salazar, ESJo-Ey Tang, US

Julie Béna’s work oscillates between per-formance, installation and theater. Proceed-ing through incongruities, shifts and displacements, Béna diverts everyday images and objects. They gradually become the subjects of a variety of strange, poetic fictions. Through installation, photo-graphy, video or performance, the artist explores moments of transition, tuning in on the imperceptible and refining those minute moments into self-reflective action.

Julie Béna was born in 1982. She lives and works between Paris and Prague. During 2019, Béna will have solo exhibitions at the Jeu de Paume in Paris, CAPC museum in Bordeaux and the Amparo Museum in Puebla Mexico as part of the Satellite program curated by Laura Herman. Her recent exhibitions include the Biennale de Rennes (FR), Kunstraum (UK) Polansky gallery (CZ), 1646 (NL) and Bozar (BE). Béna had staged performances at the Inde-pendent Brussels (BE); Centre Pompidou (FR), and MRAC Serignan (FR) all within the last year.

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Emma HartWipe Out, 2018Ceramic, pespex and steel181 × 15 × 108 cm

Emma HartFlats, 2018Ceramic7 Parts: Dimensions variable

The Sunday PainterHarry BeerTom ColeWill Jarvis

117–119 South Lambeth RdSW8 1XA LondonUK

T +44 20 7735 5037M +44 78 5546 3490

info@thesundaypainter.co.ukwww.thesundaypainter.co.uk

The Sunday Painter

Solo show at LISTE:Emma Hart, 1974, UK

Represented Artists:Rob Chavasse, UKCynthia Daignault, USBuck Ellison, USLeo Fitzmaurice, UKEmma Hart, UKPiotr Lakomy, PL

Kate Newby, NZBeatriz Olabarrieta, ESNicholas Pope, UKAlex Rathbone, UKSamara Scott, UKTyra Tingleff, NO

Emma Hart makes work that tests relation-ships. Personal, domestic and familial relationships are awkwardly exposed, whilst the power relationship between the viewer and artwork – who is attending to who? – is scrutinised. Working in series, the accumu-la tive effect of visual repetition is used to lean on and position the audience, often trying to manipulate them. She primarily works in ceramic, the material possessing an immediacy allowing for something crude and personal. In Hart’s hands it forms an ideal vehicle for a practice that addresses the repetitive patterns of the ups and downs of human behaviour.

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Claire van LubeekWhat's Cooking?, 2019Paper, Plastic, Polymer Clay, Metal, Chicken Wire, Paint, Wool, Dried starfishes and sea horses60 × 30 × 30 cm

Mathis AltmannCognitive Soil (detail), 2018Wood, acrylic-glass, flocking, paint, polyurethane foam, miniatures, mirrors, LEDs, ceramics, ink-jet prints139 × 103 × 129 cm

Courtesy of Truth and Consequences and the artists

Truth and ConsequencesPaul-Aymar Mourgue d’Algue

7 boulevard d’Yvoy1205 GeneveSwitzerland

T +41 79 533 46 67paulaymar@truthandconsequences.chwww.truthandconsequences.ch

Truth and Consequences

Shown at LISTE:Mathis Altmann, 1987, CHClaire van Lubeek, 1990, CH

Represented Artists:Mathis Altmann, CHStéphane Barbier Bouvet, FRVittorio Brodmann, CHLiz Craft, USCharles Irvin, US

Pentti Monkkonen, USHannah Quinlan & Rosie Hastings, UKAlan Schmalz, CHUlrich Wulff, DESeyoung Yoon, KR

For the 2019 edition of the LISTE art fair, Truth and Consequences presents works by two artists, Mathis Altmann and Claire van Lubeek, focusing on the architecture and its role in systemic violence.

Mathis Altmann is a sculptor known for dense, precise miniatures, often depicting the clutter and chaos left in the wake of human industry. Altmann’s work connects issues mined in his previous projects: the growing ubiquitous ness of tech-related aesthetics in urban architecture, commerce, and social interaction. Resonating from his sculptures is an attempt not to lecture, but to render inefficient these same objects that power commercial desirability. Claims on clear positions disappear into a dreamscape, and questions about models of rejection and embracement appear.

In her work, Claire van Lubeek invites the viewer to set foot into a dystopian, post-apocalyptic world. These handcrafted pieces cheekily criticize the capitalist system

and its representations, thus questioning our relationship to the end of the world.

By pairing these two artists in the booth, the gallery presentation aims to reflect on the different forms architecture plays a role in violent concept such as surveillance, exclusion and oppression.

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Yoan MudrySubliminal, 2018Oil & Acrylic on Canvas160 cm × 110 cm

Union Pacific Grace SchofieldNigel Dunkley

17 Goulston StreetE1 7TP LondonUnited Kingdom

T +44 207 247 6161M +44 781 395 9987

mail@unionpacific.co.uk www.unionpacific.co.uk

Union Pacific

Solo show at LISTE:Yoan Mudry, 1990, CH

Represented Artists:Alfred Boman, SEAleksander Hardashnakov, CAJan Kiefer, DECaroline Mesquita, FR

Yoan Mudry, CHMax Ruf, DEUrara Tsuchiya, JPZadie Xa, US / CA

The work of Yoan Mudry, the associated paintings, drawings, prints, sculptural objects, installations and performances have been fed by a process of selecting pictures that the artist has removed from the flux of images noted on a daily basis.

Forming an ever-growing inventory, Yoan’s repertoire draws a landscape, placing motifs coming from television, media, social networks, comics, art, music, cinema, pop culture, philosophy, and activism all on the same equal level. Our presentation for LISTE is the second step of an ongoing series of paintings shaped around how we receive information from images through cultural transmission.

We will present a series of new book cover paintings based on appropriations of books covers. The series highlights the double status of books and paintings in general, both are tools for cultural transmis-sions and objects used to show off social status. Here the books are reduced to their cover and imposed images are over - laid: Emptied of any content they remind us

of books which fill the shelves of one’s library in an attempt to look more respect-able, or to bring intellectual admiration.

Using covers of books coming from his private library, Mudry presents a series of large scale paintings that show and share, using his own sources, a literal bibliography.

Here pictured is Subliminal Seduction, one of the first book cover paintings that he made in 2017, a seminal book from 1974 by Wilson Bryan Key about subliminal messages in advertising.

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Top left:Daniele MilvioBel Trilocale, 2018Egg tempera, watercolor, paper mounted on wood, plaster, gauze, steel39.5 × 30 × 10 cm

Top right:Giangiacomo RossettiUntitled (freilager-platz), 2018Oil on panel42.5 × 32.5 cm (framed)

Bottom:Cinzia RuggeriAssente, 2018Mixed media on pillow, poufDimensions variable

Federico Vavassori Via Giorgio Giulini 520123 MilanItaly

T +39 023 966 0009M +39 329 547 2438

info@federicovavassori.comwww.federicovavassori.com

Federico Vavassori

Shown at LISTE:Daniele Milvio, 1988, ITGiangiacomo Rossetti, 1989, ITCinzia Ruggeri, 1942, IT

Represented Artists:Rosa Aiello, CAMatteo Callegari, ITMatthias Gabi, CHRochelle Goldberg, CADario Guccio, ITEmil Michael Klein, CHErika Landström, SW

Daniele Milvio, ITKaspar Müller, CHRiccardo Paratore, GE / ITGreg Parma Smith, USLisa Ponti, ITGiangiacomo Rossetti, ITCinzia Ruggeri, IT

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Aviva SilvermanAssimilation (Detail), 2018 Plastic religious figurines, taxidermied birds (Gouldian Finch, Blue Dacnis, Cordon bleu Finch, Strawberry Finch), wooden wreath 127 × 96.5 × 96.5 cm

Aviva SilvermanAssimilation, 2018 Plastic religious figurines, taxidermied birds (Gouldian Finch, Blue Dacnis, Cordon bleu Finch, Strawberry Finch), wooden wreath 127 × 96.5 × 96.5 cm

VedaGianluca Gentili

Borgo Pinti 82r50121 FlorenceItaly

M +39 32 8764 6155 www.spazioveda.it

Veda

Solo show at LISTE:Aviva Silverman, 1986, US

Represented Artists:Jonathan Berger, USMarius Engh, NOEmily Jones, UKAndres Laracuente, US

Amitai Romm, DKDominique White, UKDamon Zucconi, US

Aviva Silverman’s new sculptural series, ‘Ghosts in Need of Assistance I, II, III’ (2019), feature enlarged versions of industrially produced Catholic figurines purchased from factories in Italy. As a result of accidents in the production process, certain characters appear in states of headlessness, dissolu-tion, or recombination, suggesting ecstatic decreation or even divine intervention. Silverman treats the figurines’ various ailments through alternative healing practic-es, such as cupping and acupuncture. Accompanying the series is ‘Purgatory’ (2019), a bird bath that combines plastic religious figurines en melting, misshapen or semi-formed likenesses of saints and angels, and primordial plastic ooze. Two taxidermied European goldfinches perch above, a serene foil to the Boschian frenzy below. Silverman continues to explore religious iconography through ex-ami nations of its material reproduction. Namely, how mechanical errors and distor-tions create symbols in and of themselves.

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Mathis GasserInhabitants (Spaceships), 2017Oil on canvas270 × 200 cm

Sveta MordovskayaMatrjoschka II, 2018Ceramic and toys18 × 32 × 15 cm

Weiss FalkOskar WeissOliver Falk

Rebgasse 274058 BaselSwitzerland

T +41 61 222 26 67M +41 76 546 69 16

info@weissfalk.comwww.weissfalk.com

Weiss Falk

Shown at LISTE:Mathis Gasser, 1984, CHSveta Mordovskaya, 1989, RU

Represented Artists:Tina Braegger, CHTimothée Calame, CHMathis Gasser, CHVeit Laurent Kurz, DELaura Langer, AR

Daniele Milvio, ITSveta Mordovskaya, RUDavid Weiss, CHUrban Zellweger, CH

Mathis Gasser presents new paintings based on images of spaceships. The artist has, in recent years, made a series of works on paper and paintings with the trope of spaceships and other science fiction imagery. For Gasser these objects, besides their sculptural quality as imagined ‘forms in space’, these ships express a human desire and madness to explore. On some works, the artist put spaceships next to ships from the 15th century when Europeans started to explore the oceans and other continents. The ensuing colonial episodes are part of the artist’s preoccupation with both the motive of the ship and science fiction in general as the genre emerged in France and Britain during colonial times. Global trade emerging during colonialism marked the beginning of globalization. Therefore the ships, for Gasser are ambig-uous objects, they both hold a promise for new discoveries but also may be a de - s tructive force.

Sveta Mordovskaya shows new sculp- tures from the Matrjoschka series. Within them, con trasts are synergised; On top

of – by hand shaped, and oven-fired – ce-ram ic humps, you find a wide arrangement of the artists children toys. Arts and crafts meets Readymade. Strange and raw forma-tions accommodate personal souvenirs. Twee looking dolls, a terrifying old witch, and a heavily armed cyborg with the smiling head of the eponymous Matrjoschka. And then, someone else – the observer. Thus, as he passes by, he briefly sees his face flashing into the mirrors held by the toys. Completeness in Mordovskaya’s sculptures is always related to the (human) body, but at the same time testifies to its absence.

Artists shown at LISTE

!!Mediengruppe Bitnik, CH — Super DakotaAMathieu Kleyebe Abonnenc, FR — Marcelle AlixIgshaan Adams, ZA — blankSonia Almeida, PT — Simone Subal GalleryMathis Altmann, DE — Truth and ConsequencesAmcontemporary, BG / CH — KaskadenkondensatorNazgol Ansarinia, IR — Green Art GalleryChristopher Aque, US — SweetwaterBZoe Barcza, CA — Bianca D’AlessandroNoah Barker, US — LodosAlvaro Barrington, US — EmalinNick Bastis, US — Ermes - ErmesJulie Béna, FR — Galerie Joseph TangAnca Benera & Arnold Estefán, RO & HU — IvanRossella Biscotti, IT — mor charpentierBenji Boyadgian, FI / PN — Öktem AykutRachal Bradley, UK — Galerie Gregor StaigerRafał Bujnowski, PL — RasterHera Büyüktaşçıyan, TR — Green Art GalleryCElisabeth Caravella, FR — HeKLea Cetera, US — Southard ReidXiaoyi Chen, CN — A Thousand Plateaus Art SpaceChen Ching-Yuan, TW — mor charpentierJakub Choma, SK — PolanskyVictoria Colmegna, CA — Bonny PoonMarie Cool & Fabio Balducci, FR & IT — Marcelle AlixCatharine Czudej, US — Ginerva GambinoDJesse Darling, UK — SultanaRegina de Miguel, ES — MaisterravalbuenaDEPO, TR — KaskadenkondensatorDries Depoorter, BE — HeKDaniela and Linda Dostálková, CZ — PiktogramHayden Dunham, US — Company

EEdge Woman Group, BG – KaskadenkondensatorRon Ewert, US — Good WeatherFTeresa Farrell, US — EmalinLeandro Feal, CU — El ApartamentoCayetano Ferrer, US — Southard ReidRadeamés “Juni” Figueroa, PR — Proyectos UltravioletaJustin Fitzpatrick, IE — SultanaAndrea Fourchy, US — LomexLouis Fratino, US — Antoine LeviPeter Friel, US — Bonny PoonGerrit Frohne-Brinkmann & Paul Spengemann, DE & DE — Galerie Noah KlinkMichael Fullerton, UK — Koppe AstnerGMathis Gasser, CH — Weiss FalkDorota Gawęda and Eglė Kulbokaitė, PL & LT — Lucas HirschNik Geene, NZ / DE — Bonny PoonPatrick Goddard, UK — SeventeenPenny Goring, UK — Arcadia Missa / SANDY BROWNIgor Grubić, HR — Laveronica arte contemporaneaHMichael Hakimi, DE — Galerie Gregor StaigerFlaka Haliti, XK — Deborah SchamoniPakui Hardware, LT — PolanskyEmma Hart, UK — The Sunday PainterHugh Hayden, US — CLEARINGMónica Heller, AR — PIEDRASHolly Hendry, UK — FruttaMax Hooper Schneider, US — High ArtKlára Hosnedlová, CZ — hunt kastnerIAkira Ikezoe, JP — Proyectos UltravioletaNona Inescu, RO — SabotAgata Ingarden, PL — Piktogram

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JMaryam Jafri, US — Laveronica arte contemporaneaSebastian Jefford, UK — Gianni ManhattanCui Jie, CN — Antenna SpaceKE’wao Kagoshima, JP / US — Galerie Gregor StaigerNora Kapfer, DE — Lars FriedrichMarie Karlberg, SE — Bonny PoonHoda Kashiha, IR — Dastan’s BasementBronwyn Katz, ZA — blankMahmoud Khaled, EG — GypsumBaseera Khan, US — Simone Subal GalleryHun Kyu Kim, KR — High ArtVikenti Komitski, BG / DE — Sariev ContemporaryLLennart Lahuis, NL — Dürst Britt & MayhewLaura Lamiel, FR — Marcelle AlixAlexandre Lavet, FR — Dürst Britt & MayhewMaggie Lee, US — Édouard MontassutKris Lemsalu, EE — Koppe AstnerMiriam Laura Leonardi, CH — Galerie Maria BernheimEllen Lesperance, US — Adams and OllmanReynier Leyva Novo, CU — El ApartamentoKeto Logua, GE — LC QueisserJoão Loureiro, BR — Sé GaleriaIsaac Lythgoe, UK — Super DakotaMPiotr Makowski, PL — Antoine LeviMathieu Malouf, CA — Lars FriedrichEmanuele Marcuccio, IT — LodosOrion Martin, US — BodegaYornel Martínez, CU — El ApartamentoKunle F. Martins, US — Bonny PoonJannis Marwitz, DE — Lucas HirschMona Marzouk, EG — GypsumThéo Mercier, FR — mor charpentierCaroline Mesquita, FR — Union Pacific

Hana Miletić, HR — LambdaLambdaLambdaDaniele Milvio, IT — Federico VavassoriDylan Mira, KR / US — Park View / Paul SotoSabelo Mlangeni, ZA — blankSveta Mordovskaya, RU — Weiss FalkCharlotte Moth, UK — Marcelle AlixShana Moulton, US — Galerie Gregor StaigerMonique Mouton, US — Bridget DonahueYoan Mudry, CH — Union PacificNJin Ningning, CN — SandwichAditya Novali, ID — ROH ProjectsOKayode Ojo, US — SweetwaterJuan Antonio Olivares, US / PR — Galerie Maria BernheimDominika Olszowy, PL — RasterDaniel Otero Torres, CO — mor charpentierPDaniela Pălimariu, RO — SandwichGyan Panchal, FR — Marcelle AlixJonathan Penca, DE — Deborah SchamoniGabriel Pericàs, ES — PM8Marina Pinsky, RU — CLEARINGBonny Poon, CA — Bonny PoonRCristian Răduță, RO — SandwichMichelle Rawlings, US — RasterJessi Reaves, US — Bridget DonahueJosefine Reisch, DE — Galerie Noah KlinkDiego Salvador Rios, MX — LodosGiangiacomo Rossetti, IT — Federico VavassoriCinzia Ruggeri, IT — Federico VavassoriSSam Samiee, IR — Dastan’s BasementCinga Samson, ZA — blankOscar Santillán, EC — 80M2 Livia BenavidesLouis Scherfig, DK — Bianca D’AlessandroLiv Schulman, AR — PIEDRAS

Heji Shin, KR / DE — Galerie BernhardAviva Silverman, US — VedaJanek Simon, PL — RasterBuhlebezwe Siwani, ZA — MadragoaTeppei Soutome, JP — Aoyama MeguroTobias Spichtig, CH — Deborah SchamoniArin Dwihartanto Sunaryo, ID — ROH ProjectsNaoki Sutter-Shudo, JP / FR — BodegaMartine Syms, US — Bridget DonahueTYukihiro Taguchi, JP — Mujin-to ProductionGili Tal, UK — Jenny’sSean Townley, US — Antoine LeviTt X AB, US & US — EmalinUBelén Uriel, ES — MadragoaVAdán Vallecillo, HN — 80M2 Livia BenavidesClaire van Lubeek, NL — Truth and Consequences

Stefanie Victor, US — Adams and OllmanRaphaela Vogel, DE — Galerie Gregor StaigerXGuan Xiao, CN — Antenna SpaceYDena Yago, US — BodegaTrevor Yeung, CN — Galerie AllenMiao Ying, CN — MadeIn GalleryZheng Yuan, CN — MadeIn Gallery

BODEGA ZUM STRAUSS

Restaurant Bodega zum Strauss

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St. Johanns-Vorstadt 19 4056 Basel info@candelariabasel.ch 061 262 01 55

Sonntag & Montag: geschlossenDienstag - Freitag: ab 17 Uhr

Feierabenddrinks aufregende Speisen Barrel Cocktails Mezze

Restaurant Cantina Don Camillo, Burgweg 7, (2nd floor) 4058 BaselTel. 061 693 05 07, www.cantina-doncamillo.ch

Christ & Gantenbein, Residential Building „Westhof“, Munich, Germany, 2018www.christgantenbein.com

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STELLWAND BILDWAND STUDIOWAND LEINWAND BRETTERWAND

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Wolfcons VAT Refund - info@wolfcons.ch - www.wolfcons.ch - +41 (0) 79 195 10 15 Haltenstrasse 27, CH - 8912 Obfelden ZH

VAT, MWST, IVA, TVA VAT Refund Switzerland and Europe Companies generating expenses in countries other than their own, (stand rental, installations, accommodation, catering, car rental, etc.) are generally entitled to reclaim their paid VAT Experts in Swiss and European VAT refund Fast and professional proceeding Over 20 years of experience in the VAT area Attractive commission structure MWST Rückerstattung Schweiz und Europa Unternehmen mit Geschäftsausgaben in der Schweiz und Europa, sind in der Regel berechtigt, die bezahlte MWST zurück zu fordern (Standkosten, Installationen, Hotels, Catering, Mietautos, etc.) Experten von MWST Rückerstattungen in der Schweiz und Europa Zügiges Rückerstattungsverfahren Langjährige Erfahrung in der MWST Branche Professionelles Vorgehen, attraktive Kommission

“LONELINESS”

May 28 – August 118 videos by Sylvie Boisseau & Frank Westermeyer, Gregory Buchert, Dimension émotionnelle, Paul Heintz, Luzia Hürzeler, Franticek Klossner, Theres Liechti, Elodie Pong are screened daily from 8:00–24:00 in between the regular messages shown on the Congress Center Basel eBoard Messeplatz 21 next to Swissôtel Le Plaza

Furthermore they will be shown from Monday till Friday 10:00–13:00 on the screen in the Mediathek, FHNW Academy of Art and Design, 8th fl oor, Freilager-Platz 1

May 28 – June 26videocity.bs window at GLOBUS Basel created by the artists Sylvie Boisseau & Frank Westermeyer from 8:00–24:00 Marktplatz 2

June 27– August 11A huge site-specifi c installation by Sebastian Mundwiler on the e-boards and LED facade of the City Lounge, Messeplatz

© by curator Andrea Domesle, graphic BureauDillier

LISTE – Art Fair Basel Burgweg 15, 4058 BaselSwitzerland T +41 61 692 20 21, F +41 61 692 20 18info@liste.ch www.liste.ch

Öffnungszeiten MesseDi–Sa, 11.–15. Juni, 13–21 Uhr So, 16. Juni, 13–18 Uhr

Öffnungszeiten MessebüroMo, 10. Juni, 11–21 UhrDi–Sa, 11.–15. Juni, 12–21 UhrSo, 16. Juni, 12–18 Uhr

Öffentliche VernissageMo, 10. Juni, 18–21 Uhr Vernissage PartyGemeinsam mit Swiss Art Awards und Cahiers d’ArtistesPräsentiert von Asian EyezMo, 10. Juni, 22–03 Uhr im Des Arts, Barfüsserplatz 6, 4051 Baselwww.desarts.ch, Eintritt frei EintrittspreiseEintritt CHF 20.–Reduziert CHF 10.–Ab 20 Uhr CHF 6.– Eintritt frei für Kinder bis 16 JahreEintritt frei für Schüler*innen /Studierende / AHV ab 20 Uhr

FührungenMi, 12.Juni, 13 Uhr; Do, 13. Juni 19 Uhr;Fr, 14. Juni, 19 Uhr; Sa, 15. Juni, 15 UhrPreise:Einzelperson CHF 10.–Schüler / Studenten / AHV CHF 5.–(alle Preise exkl. Eintritt)

Restaurants und Bars Mehrere Hof- und Terrassenbars: Restaurant Don Camillo; Kulturbeiz 113; Turmstüblibar

TourismusBasel Tourismus, Steinenberg 14, Basel; Bahnhof SBB, Basel, +41 61 268 68 68 www.basel.com, info@basel.com

Opening Hours FairTue–Sat, June 11–15, 1 pm–9 pm Sun, 16 June, 1 pm–6 pm

Opening Hours Fair OfficeMon, June 10, 11 am–9 pmTue–Sat, June 11–15, 12 pm–9 pmSun, June 16, 12 pm–6 pm

Public OpeningMon, June 10, 6 pm–9 pm Opening PartyHosted by Swiss Art Awards and Cahiers d’ArtistesPresented by Asian EyezMon, June 10, 10 pm–3 am at Des Arts, Barfüsserplatz 6, 4051 Baselwww.desarts.ch, free admission AdmissionSingle CHF 20.–Reduced CHF 10.–After 8 pm CHF 6.–Free admission for children up to 16 yearsFree admission for students / seniors after 8 pm

Guided ToursWed, June 12, 1 pm; Thu, June 13, 7 pm; Fri, June 14, 7 pm; Sat, June 15, 3 pmPrices:Individual CHF 10.–Students / Senior citizens CHF 5.–(Prices do not include admission to fair)

Restaurants and BarsSeveral courtyard and terrace bars: Restaurant Don Camillo; Kulturbeiz 113; Turmstüblibar

Tourist InformationBasel Tourismus, Steinenberg 14, Basel; Bahnhof SBB, Basel, +41 61 268 68 68 www.basel.com, info@basel.com

Messeinformationen / Fair Information

Impressum / ImprintLektorat / Editing: Otto Bonnen, Hester Koper(LISTE – Art Fair Basel)Grafik / Graphic design: Claudiabasel, BaselDruck / Printing: Steudler Press AG, Basel

LISTE 2019