Andréhn-Schiptjenko is delighted to premier new works by Martín Soto Climent, Annika Elisabeth von Hausswolff and Gunnel Wåhlstrand in this year’s edition of Art Basel, as well as exhibiting recent works by Cecilia Bengolea, whom this year has been invited by Art Basel to present a new performative work on Messeplatz. At Parcours, Bengolea’s latest video work, Shelly Belly inna Real Life, and her participatory performance Oneness will also be presented.
We look forward to welcoming you to our new location in Hall 2.1, Booth S16.
Cecilia Bengolea, b. 1979, Argentina. Lives and works in Paris, France.
Bengolea is a multidisciplinary artist using dance as a tool and a medium for radical empathy and emotional exchange. Through collaboration with others – artists, performers, deejays and dancers – Bengolea develops a broad artistry where she sees movement, dance and performance as animated sculpture, where she herself is both object and subject in her own work. At Parcours, Andréhn- Schiptjenko presents Bengolea’s most recent video work, Shelly Belly inna Real Life, a collaborative project with the dancehall communities in the Jamaican towns of Kingston, Spanish Town and Bog Walk, as well as her participatory performance Oneness, consisting of both a video archive and live performance.
Bengolea’s work has been shown at numerous, prestigious institutions worldwide. Guggenheim Museum, Bilbao, is currently presenting a solo-exhibition of her video works and later this year she will present a new performance at Bourse de Commerce, Pinault Collection, Paris.
Annika Elisabeth von Hausswolff, b. 1967, Sweden. Lives and works in Gothenburg, Sweden.
Annika Elisabeth von Hausswolff, regarded as one of the Nordic region's leading artists, was first introduced by the gallery in 1994 and has since been widely exhibited in Scandinavia and abroad. Recurring topics in her work are patriarchal structures, criminology, global capitalism, the subconscious and her deep interest in the photographic image. Her new series, The Hole is a Noun, reflects on the contradictory categorisation of an object defined by its absence, and will be exhibited for the first time at Art Basel.
In October, the Moderna Museet in Stockholm is presenting an extensive mid-career retrospective of her work, accompanied by a catalogue, which will later travel to the Moderna Museet in Malmö. Annika Elisabeth von Hausswolff represented Sweden in the Venice Biennial of 1999 and her work was the subject of a large mid-career retrospective, Grand Theory Hotel at Hasselblad Foundation in Gothenburg in 2016.
Martín Soto Climent, b. 1977, Mexico. Lives and works in Mexico City, Mexico.
Soto Climent is well known for his surrealist manipulation of images and objects. His practice refers to the forms of the body and the psychology of desire embedded within an economy of consumption. By re-contextualising ever so slightly and executing delicate re-arrangements by ways of appropriation and juxtaposition his works often have the humble quality of the ready-made or appear to be fragile assemblages exploring issues of temporality, desire, decay and marginality. To be presented at the fair is a new body of work in which tights, a material characteristic of the work of Soto Climent, has transformed into a stencil, leaving a trace in which emptiness takes presence.
With a long list of international institutional and gallery exhibitions behind him, such as Palais de Tokyo, Paris, Hessel Museum of Art, Hudson USA, and Kunsthalle Wintherthur, Switzerland, his work is today included in several noteworthy private and public collections. This autumn, a monograph on Soto Climent is to be published by Mousse Publishing.
Gunnel Wåhlstrand, b. 1974, Sweden. Lives and works in Stockholm, Sweden.
Wåhlstrand’s depiction is a deeply personal process yet has a universally affecting presence. For many years, she has worked exclusively with what could be described as a re-development of private photographs using ink-wash. This technique, that she masters to perfection, is a manner of painting where the procedure of making this meticulously reconstructed documentation is painstakingly slow and physically taxing; Wåhlstrand literally works on hands and knees, immersing herself in an image in order to see it, as a way for her to physically and psychologically approach a personal history or place.
Wåhlstrand receievd her MFA from Royal Academy of Fine Arts in 2003 with a much-acclaimed graduation exhibition, and has since then developed an exceptional, albeit very spare, œuvre. Her most recent institutional solo-exhibition was at Göteborgs Konstmuseum, Gothenburg, Sweden (2019) and prior to that at the Museum Boijmans Van Beuningen, Rotterdam, the Netherlands and Magasin III Museum & Foundation for Contemporary Art, Stockholm, Sweden (both 2017).
Other works available by: Linder, Tony Matelli and Xavier Veilhan.
For more information and visuals please contact Hanna Lundberg at email@example.com
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