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Damien & The Love Guru
The gallery is excited to present documentation of the various participations in [removed];
Liste Art Fair Basel with a solo presentation by Mickael Marman, Art Basel Parcours with an installation by Julian Irlinger in collaboration with Galerie Thomas Schulte, Basel Social Club with works by Emanuele Marcuccio and Anne Fellner & Mathis Pfäffli at Swiss Art Awards.
Mickael Marman at Liste Art Fair Basel
For this years edition of Liste Art Fair Basel the gallery presented a solo booth with a combination of more recent and new paintings by Norwegian / Gambian artist Mickael Marman. Alongside the biographical and cultural-historical information encap-sulated in Marman’s paintings, one is presented with a heterogeneous but concerted assortment of prose. For those unfamiliar with Schpaa it is an interesting portrait of its times in terms of cinematography, slang, and cultural stereotypes. Based on what can be deduced from Marman’s texts, his participation in the film, which is still circulating in some circles, has been as much a nuisance and obstacle to him as it has been a boon.
 Installation view
Installation view
[removed], 1998-2023, gravel, sand, paper, laquer, spray paint, oil, pigments, acrylics, 140 x 170 cm / [removed] x [removed] in (left)
Untitled, 1998-2023, oil, spray paint, acrylics, paper, oak artist frame, 140 x 170 cm / [removed] x [removed] in (right)
Untitled, 1998-2023, pigments, spray paint, acrylics, oil, paper, epoxy, oak artist frame, 140 x 190 cm / [removed] x [removed] in
Installation view
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Julian Irlinger at Art Basel Parcours, Kunsthalle Eckbar
Fragments of a Crisis is a site specific project for Kunsthalle Eckbar at the Kunsthalle Basel by Julian Irlinger. It situates a video and readymade toy houses in the venue’s display.
This juxtaposition is meant to create a cross historical dialogue to extend the institutional discourse through daily life objects of a more recent history. The readymade timber-frame houses—Fachwerkhäuser—in this work are representations of an architectural trope of central-European cultural identity, a style first mentioned in 33 BC by the Roman architect Vitruvius in his work De architectura. Since the 1970s, reproductions of these buildings have been featured, in various incarnations, in the Playmobil line of toys. Julian Irlinger’s work for Art Basel Parcours gets its title from an earlier work of his also called Fragments of a Crisis, a result of the artist’s extensive research into Notgeld—an emergency currency that was issued during the hyperinflation crisis in Germany in the 1920s. The banknotes were designed by numerous artists, incarnating shared political values and divergent artistic ideals. By selecting and focusing on the illustrations of the banknotes in his personal archive, as seen in his video, Irlinger draws attention to the political unconsciousness during the crisis.
Fragments of a Crisis, 2023, HD video, 11’30” (loop), digital projection; Untitled (Fachwerkhaus), 2019/2021,
readymade toy houses,
Installation view
Untitled (Fachwerkhaus), 2019/2021, readymade toy houses
Installation view
Untitled (Fachwerkhaus), 2019/2021, readymade toy houses
Installation view
Untitled (Fachwerkhaus), 2019/2021, readymade toy houses
Installation view
Fragments of a Crisis, 2023, HD video, 11’30” (loop), digital projection;
Untitled (Fachwerkhaus), 2019/2021, readymade toy houses
Installation view
Fragments of a Crisis, 2023, HD video, 11’30” (loop), digital projection;
Untitled (Fachwerkhaus), 2019/2021, readymade toy houses
Installation view
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Emanuele Marcuccio at Basel Social Club
A soft comet-shaped sculpture sometimes falls on a table, sometimes it ends up in a box, in the case of Comet Nera and Cometa Blu, the star, as it falls, remains attached to a well-painted metal plate hanging on a wall. Imprisoned by a mysterious force, it twists, showing a new unexpected [removed];
In the works of Emanuele Marcuccio, forms are constantly questioned, renegotiated. Making use of both minimal metal artefacts, readymades and photography, the artist develops a strategy whereby associations take the form of allegories. In his serial works to date, surface and depth, information and voids, authenticity and artifice, the legit and the fake, that is classic dualisms and cherished ideals generally, get diluted and mixed up not to the point of conceptually rather exhausted synthesis or crash, but as tentative environments that play style and idea off against one another. Emanuele Marcuccio is an Italian artist living in Milan, Italy
Cometa nera, 2017 – 2022, powder coated steel, textile and aluminum, 100 x 70 x 15 cm / [removed] x [removed] x [removed] in
Cometa blu, 2017 – 2022, powder coated steel, textile and aluminum, 80 x 70 x 15 cm / [removed] x [removed] x [removed] in
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Anne Fellner at Swiss Art Awards
(prize winner)
Anne Fellner’s presentation “Stadt Land Fluss” consists of four paintings, both abstract and figurative, for which stretched textiles serve as material carriers. The key to the narrative that unfolds across the paintings is a text written by the artist in the 90s, which appears in one of the works: Relic. The sheet of paper with the text, written in the curly handwriting of a teenager, it is set against Rothko-style blocks of green, red and blue, whose paint is applied in loose, translucent dabs. The text talks about a box that was never opened – it’s a tale of a promise not fulfilled, a secret never unlocked. A young woman seen from behind guides us in the other paintings, variously set in a city scape and a pastoral landscape, while the third painting – with its dancing, dynamic dabs and lines on deep blue velvet – is entirely abstract. Here, longing, promise, and naiveté are on display rendered in a sophisticated, layered and confident painterly language that seduces and repels, equal part sincerity and kitsch, cleverly mobilizing different painterly styles and cultural references.
Installation view
Installation view
Land, 2023, oil, ink, acrylic, oilstick, pigments on textile, 180 x 120 cm / [removed] x [removed] in
Fluss, 2023, oilstick, ink, pigments on textile, 180 x 110 cm / [removed] x [removed] in
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Mathis Pfäffli at Swiss Art Awards
Mathis Pfäffli is a Swiss artist living in Zurich. His work meanders between drawing, object, installation. A told story can play a role, often you have to imagine the narratives yourself. The boundaries of the works are sometimes not easy to recognize, much frays at the edges and mixes with the existing
Temporary Relations (Zollikerstrasse 249), 2023, glass, aluminum, plastic, reused steel tubes, collected glass vessels, lost things found somewhere in the gaps of the pavement, a tiny shell, flint stone, replica of an ancient figurine, parts of a heating system from an abandoned nursery, a small square stone (from an ancient roman site), found devices, LED tube. electrical wire, variable dimensions
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If you would like to request more information about the following artists please click here
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CURRENTLY
HC
Fuoco Alle Galere
14. April – 1. July 2023
Damien & The Love Guru, Brussels
Alison Yip and Tiziana La Melia
confessions on sparkling hill
3. February – [removed];July 2023
Damien & The Love Guru, Zürich
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