Highlighted Projects at Paris+ par Art Basel 2023

Photo from: Grand Palais Éphémère

This year, 14 galleries from 12 different countries will each have a solo show in the Paris+ par Art Basel sector dedicated to up-and-coming artists. The Galeries Lafayette group, the sector’s official partner for the second year running, will again show its encouragement to young artists by supporting one of them in the production of a new work. Here are the highlighted projects at this year’s Paris+ par Art Basel. [Information and photos from Art Basel]


Karol Palczak
Gallery: Emalin (London)

Booth: C2

Karol Palczak (b. 1987, Przemyśl) has created a melancholic elegy about a village in the Podkarpackie region of Poland. It takes place in the gloomy landscapes that the artist knows well, of a rural and post-industrial area that is currently plagued by rising conservative ideology and endemic unemployment.

Palczak conveys this somber atmosphere with tenderness. The process begins with the making of a video – a work in its own right, but also a wellspring that they will then use to paint realistic scenes in oils. With the space split in two, the video blocks the visitor’s view with its incandescent emotional charge, before opening out onto a more personal exhibit of paintings – a fundamental part of the show’s bittersweet reflection.


Lu Yang
Gallery: Bank (Shanghai)
Booth: C3

Doku is the virtual reincarnation of Lu Yang (b. 1984, Shanghai). In a parallel universe, the artist’s alter-ego goes through the six steps of transmigration, a term used in several spiritual doctrines – in particular Buddhism – to describe the journey of a soul from one body to another.

Lu uses this traditional notion to propel him into the syncretic universe that made him famous, a boiling magma of spirituality, neuroscience, video games, and pop culture. For this project, Lu worked with a team of scientists, 3D animators, and digital developers. They used motion capture to create a model of his face and emotions, then mixed them with the movements of dancers and musicians. In this exhibition, two stages of Doku’s transformation are played as a loop on an LED screen. The quest for eternity is as old as humanity itself – whereas before it would have been expressed through myths, now it is expressed through technology and science.


Gallery: Document (Chicago, Lisbon)
Booth: C4

The collective Tromarama was formed in Indonesia in 2006. Its three members, Febie Babyrose (b. 1985, Jakarta), Ruddy Hatumena (b. 1984, Manama), and Herbert Hans (b. 1984, Jakarta), are part of the first generation to come out of the digital revolution in South-East Asia. Their immersive installations explore the impact of technology on our daily lives.

The project Personalia #3 (2023) shows a space lined with wallpaper covered with a repeated motif of a scanned thumbprint, representing the interface between ourselves and the world of data. A 3D video of a person wearing a costume covered in thousands of eyeballs explores another aspect of how our senses have been changed in the digital era. A sound artwork takes it a step further, while three silkscreen prints plunge the visitor into the heart of the service industry. The holographic print depicts orchids, which businesses in Indonesia often rent in order to decorate their offices. Their fragility is unimportant, because, just like workers, they will end up being replaced.


Sequoia Scavullo
Gallery: sans titre (Paris)
Booth: C8

We are entering a liquid world – an ocean of iridescent colors: translucent, opalescent, shimmering. This is the world of Sequoia Scavullo (b. 1995, Baltimore) who graduated from Beaux-Arts de Paris in 2022.

Scavullo creates a universe of sensations, on the cusp between abstraction and figuration. Inspired by Taíno culture, an Indigenous Caribbean ethnicity to which her father belongs, her paintings and videos replace verbal language with the synesthetic, evocative power of color. Her new collection of works, from large-scale paintings to a pop video-like piece, revolve around a central element of mythology for Caribbean people: the fountain of youth, endowed with healing powers.


Jenna Bliss
Gallery: Felix Gaudlitz (Vienna)
Booth: C9

There is the Gallerist, the Gallery Director, the Artist, the Gallery Assistant, two Art Handlers, a few Collectors, and some Art Students. They make up the archetypal characters of a scripted reality TV show in the second film by Jenna Bliss (b. 1984, Yonkers) about Wall Street’s recent history.

Is it a meta-story? Yes, except that it plunges us into 2007, just before the stock market crash. True Entertainment (2023) is the title of both the film and its exhibited version, shown here surrounded by light boxes superimposing two types of images. The first are pictures that the artist made in the summer of 2020 in New York, when shops were blocking their windows during the COVID-19 pandemic. The second set of images come from generic advertising visuals used in the food industry. The years pass, but power relationships remain the same and the tragicomedy repeats itself.


Simphiwe Buthelezi
Gallery: SMAC Gallery (Cape Town, Johannesburg, Stellenbosch)
Booth: C11

Simphiwe Buthelezi (b. 1996, Benoni) folds, cuts, sews, and weaves. Her gestures are both precise and laborious because an entire tradition is perpetuated through them.

Buthelezi tells a story that allows us to consider both the values implicit in the sculptural tradition of minimal art and the artifacts of Zulu culture, such as icansi, hand-woven grass mats, or ancestral tankrali seed beads.

The artist drew attention at the beginning of her career for her graphic works depicting the condition of young Black women, but with her new sculptural work, Buthelezi is more oblique, subtly exploring a myriad of meanings. The five wall sculptures recreate an enveloping cosmology that continues to explore the female condition, the role of women in perpetuating tradition, manual labour in our current era, and change in the face of memory.


Noah Barker
Gallery: Fanta-MLN (Milan)
Booth: C13

Noah Barker (b. 1991, USA) has a repertoire of forms at once strange and familiar, like the technology that fills our daily lives and of which we know so little. To avoid paranoia, we imagine; we create a simpler world where IT networks look like snowflakes and light fixtures resemble jellyfish.

These analogies provide the entry point for the artist’s new installation, SNOW (Standard Nodal Organization Web) with frozen Jellifish (2023). These two elements cover the walls, reminding us of how central information architecture is to Barker’s practice. At the heart of the installation is an old-fashioned microfilm monitor, scrolling through almost 200 images. The artist made them during a road trip through California, when he visited symbolic sites of tech innovation in Palo Alto and Silicon Valley.


Paris+ par Art Basel:

Date: 20 – 22 October 2023

Location: Grand Palais Éphémère

Please click here to book your tickets via Art Basel’s website.


Source: Art Basel