Galerie AllenParis

Paris

Galerie Allen

www.galerieallen.com
joseph@galerieallen.com
+33 (0) 145 26 92 33

Boris Achour
Born in 1966 in Marseille, France. Lives and works in Paris, France.

Actions-Peu, 1993–1997 (actions-few) are anonymous and fleeting interventions carried out in public places, usually with things found on the spot.

Achour’s work is an exploration into multiplicity, symbiosis and isolation, enlisting absurdity and purposeful imprecision to create a dialogue where the viewer is invited into a world of objects echoing the emotional puzzles we deal with everyday in our human interrelations.

His work has been the subject of solo and group exhibitions including the 56th Venice Biennale, Italy; Centre Pompidou / Musée National d’Art Moderne, Paris, France; Palais de Tokyo, Paris, France; S.M.A.K, Gent, Belgium; Grand Palais, Paris, France; El Eco, Mexico City, Mexico; Credac, Ivry, France; Frac Champagne-Ardenne, Rennes, France; MAC/VAL, Val-de-Marne, France; Musée d’Art Moderne de Saint-Etienne, France; Biennale d’art contemporain in Rennes, France; MNAC, Bucharest, Romania ; LiveInYourHead, Geneva, Switzerland.



Boris Achour, ‘Actions-Peu’, 1993-1997, colour video, PAL, 4:3, 7 mins 4 secs, edition of 3


Boris Achour, ‘Actions-peu [diaporama]’, 1993, slideshow, 29 colour slides, 35mm, projector, edition of 3

ArcadeLondon

London

Arcade

www.arcadefinearts.com
christian@arcadefinearts.com
+44 (0) 20 7608 0428

Anna Barham (1974, UK) works with video, writing and live events, drawing on the productive slippages in language revealed as it moves between different bodies, forms and technologies. Her works are often housed in structures which choreograph the relationships between audiences, screens and speakers, emphasising the active, physical and provisional encounter between a text and its recipient. Her works belong to museum collections that include Tate, London, Victoria & Albert, London, SFMOMA, US and CGAC, Santiago de Compostela, SP. Recent exhibitions and live events include Fig-2, ICA Studio, London; Air de jeu, Centre Pompidou, Paris; Diding An interior that remains an exterior, KM- Graz, Austria (2015), Secret Surface, KW, Berlin, DE; A sentence can be ours and ours, Museum M, Leuven, BE; This is a Voice, Wellcome Collection, London (2016)

Luca Bertolo (1968, Milano, IT) attended the Graduate Degree Course in Information Technology from 1987 until 1992 at Milano Università Statale, where he began writing his thesis on Mathematical Logic while taking other courses in art and working as an illustrator. Following a period of residence in London, he returned to Italy and graduated from the Brera Fine Arts Academy in 1998. He moved to Berlin the same year, where he lived until 2005. Recent solo shows include: If Anything, Marc Foxx, Los Angeles; Guerre Pace, SpazioA, Pistoia, (IT); UFO, SpazioA, Pistoia (IT); A Painting Cycle, curated by Cecilia Canziani e Ilaria Gianni, Nomas Foundation, Roma (IT); Six tips for ageing with grace, Arcade, London (GB). Recent group exhibitions include: Souvenir, organised by Lucie Fontaine, Galerie Perrotin, Paris (FR); Fig. 2: Natura Morta, curated by Cecilia Canziani & Ilaria Gianni, GNAM, Roma (IT); La Figurazione Inevitabile curated by Marco Bazzini e Davide Ferri, Centro per l’Arte Contemporanea L. Pecci, Prato (IT). He currently lives and works in the Tuscan Apuan Alps area.

Caroline Achaintre (1969, Toulouse, FR) spent her formative years in Germany studying Fine Art at Kunsthochschule in Halle/Saale (1996-98), with her postgraduate Studies in Fine Art and Combined Media at Chelsea College of Art & Design, London (1998-2000) and a MA in Fine Art at Goldsmiths College, London (2001-03). She trained as a blacksmith before coming to London, where she now lives and works. Recent solo exhibitions include those at FRAC Champagne-Ardenne, Reims, FR, (2017) BALTIC Centre for Contemporary Art, Gateshead, UK (2016); TATE Britain, London (2015-15); Castello di Rivoli, Turin, IT (2015-16). Her works belong to international museum collections that include TATE and Museé d’ Art Moderne de la Ville, Paris.


Anna Barham, ‘The squid that hid’, 2015, HD video, 5’ 06”, Edition of 3

Anna Barham, ‘SQUID (superconducting quantum interference device)’, 2015, UV print on rainbow holographic paper, mounted on aluminium, 96.5 x 69 cm, Edition 2/3
Anna Barham, ‘Rhomboteuthis_lehmani.jpg’, 2015, UV print on rainbow holographic paper, mounted on aluminium, 96.5 x 69 cm, Edition 2/3
Anna Barham, ‘squidinkscreen.jpg’, 2015, UV print on rainbow holographic paper, mounted on aluminium, 96.5 x 69 cm, Edition 2/3
Anna Barham, ‘IMG_1550 0076.jpg’, 2015, UV print on rainbow holographic paper, mounted on aluminium, 96.5 x 69 cm, Edition 2/3
Anna Barham, ‘Chromatophore_flashIMG_0666_inv.jpg’, 2015, UV print on rainbow holographic paper, mounted on aluminium, 2 panels / 96.5 x 69 cm (each), Edition 2/3
Luca Bertolo, ‘Untitled 16#05’, 2016, oil and acrylic on canvas, 40 x 50 cm
Luca Bertolo, ‘Untitled 17#03’, 2017, oil on canvas, 30 x 35 cm
Luca Bertolo, ‘Utopia #01’, 2016, oil on canvas, 40 x 50 cm
Luca Bertolo, ‘Untitled #01’, 2010, watercolour on card, 40 x 30 cm
Luca Bertolo, ‘Untitled #03’, 2010, watercolour on card, 40 x 30 cm
Caroline Achaintre, ‘Ntropia’, 2016, ceramic, 52 x 40 x 10 cm
Caroline Achaintre, ‘Dollop’, 2017, ceramic, 41 x 30 x 12 cm
Caroline Achaintre, ‘Le Nez’, 2016, ceramic, 35 x 24.5 cm
Caroline Achaintre, ‘Drag-Fly’, 2017, watercolour and ink on paper, 23.4 x 33 cm
Caroline Achaintre, ’Pinayola’, 2017, watercolour and ink on paper, 25.5 x 34.5 cm

Caroline Achaintre, ‘Loft’, 2016, watercolour and ink on paper, 31 x 25 cm
ExileBerlin

Berlin

Exile

www.exilegallery.org
info@exilegallery.org
+49 309 3908 206

Pakui Hardware

Vibration of silicone membranes resonate with circulating bodies, with replaceable bodies, with bodies as resources. Martian surfaces carry uncanny fleshy tones or it is vice versa?


‘Hesitant Hand’, 2017, Installation view as part of the exhibition ‘Ungestalt’, Kunsthalle Basel
‘Hesitant Hand I’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 23 cm
‘Hesitant Hand II’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 25 cm
‘Hesitant Hand III’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 23,5 cm
‘Hesitant Hand IV’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 24,5 cm
‘Hesitant Hand V’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 22,5 cm
‘Hesitant Hand’, 2017, Installation view as part of the exhibition ‘Ungestalt’, Kunsthalle Basel
‘Hesitant Hand VI’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 25 cm
‘Hesitant Hand VII’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 23,5 cm
‘Hesitant Hand VIII’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 21 cm
‘Hesitant Hand IX’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 26 cm
‘Hesitant Hand X’, 2017, Transportation crate with heat-treated plastic and print on silicone stretched to top, 60 x 40 x 22 cm
Gillmeier RechBerlin

Berlin

Gillmeier Rech

www.gillmeierrech.com
info@gillmeierrech.com
+49 176 84 14 68 01
+49 176 61 75 73 93

Max Schmidtlein
Jim Thorell
Jasmin Werner

All images are courtesy of Gillmeier Rech and the artists.

Max Schmidtlein (born 1984, Bogen, DE) lives and works in Berlin. He graduated from the Academy of Fine Arts, class of Prof. Stephan Dillemuth in Munich, DE in 2012. His work has been exhibited internationally at venues such as: Kunstverein Schwerin, Schwerin, DE; Reisebürogalerie / Nagel Draxler, Cologne, DE; Ludlow38, New York, US; Gillmeier Rech, Berlin, DE; Deborah Schamoni, Munich, DE.

Jim Thorell (born 1981, Stockholm, SE) lives and works in Stockholm. He graduated with a MFA from Art Academy Valand in Gothenburg, SE in 2010. His work has been exhibited internationally at venues such as: Pina, Vienna, AT; Gillmeier Rech, Berlin, DE; Roman Road, London, UK; Loyal, Stockholm, SE; Carl Kostyal, Stockholm, SE; Moderna Museet, Malmö, SE; Brand New Gallery, Milan, IT.

Jasmin Werner (born 1988, Troisdorf, DE) lives and works in Frankfurt/Main. She graduated in Fine Arts from Städelschule in Frankfurt/Main, classes of Simon Starling and Peter Fischli in 2016.
Her work has been exhibited internationally at venues such as Gillmeier Rech, Berlin, DE; M.I/mi1glissé, Berlin, DE; Galerie inkijk, Amsterdam, NL; UMAM D&R, Beirut, LB; Galerie Jochen Hempel, Leipzig, DE; Heidelberger Kunstverein, Heidelberg, DE.


Max Schmidtlein, ’30. April 2016 in der Goebenstraße’, 2017, acrylic, oil on synthetic, 180 x 130 cm

Max Schmidtlein, ‘sleepy of the just’, 2017, charcoal tablets on cotton, 140 x 300 cm

Max Schmidtlein, ‘Trevira CS (Comfort and Safety)’, 2017, charcoal tablet, oil, acrylic paint on synthetic fabric and plastic cap, sticker on stretcher frame, 150 x 190 cm

Jim Thorell, ‘The light bearer’, 2010, china ink on paper, A4

Jim Thorell, ‘Untitled’, 2010, china ink on paper, A4

Jim Thorell, ‘You get yours’, 2008, china ink on paper, A4

Jasmin Werner, ‘Forever 21 (defect)’, 2015, wood carved in New Zealand and the Philippines, metal rings, mother of pearl, 50 x 25 x 20cm

Jasmin Werner, ‘Forever 21 (defect)’, 2015, wood carved in New Zealand and the Philippines, metal rings, mother of pearl, 53 x 50 x 20cm

Jasmin Werner, ‘Forever 21 (defect)’, 2015, wood carved in New Zealand and the Philippines, metal rings, mother of pearl, 60 x 60 x 20cm

Jasmin Werner, ‘Forever 21 (defect)’, install view
Ginerva GambinoCologne

Cologne

Ginerva Gambino

www.ginervagambino.com
mail@ginervagambino.com
+49 176 459 146 00

Marcus Herse
With no conscious memory of the drive
Portfolio of 12 C-Prints
Dimensions variable
Ed. of 3 + 1 AP

Marcus Herse (born 1975 in Dinslaken, Germany) lives and works in Los Angeles.
His works have been shown in the following institutions and galleries: Commonwealth & Council, Los Angeles; Villa Romana, Florence; MUHKA, Antwerp; Kunstsammlung NRW, Düsseldorf; 356 Mission, Los Angeles; Kunstverein Düsseldorf, Düsseldorf; Lothringer 13, Munich, Städtische Kunsthalle, Munich et al.


Marcus Herse, ‘German Gallow’, 2013, C-Print

Marcus Herse, ‘Rokoko Park I’, 2012, C-Print

Marcus Herse, ‘The Race’, 2013, C-Print

Marcus Herse, ‘Edge’, 2013, C-Print

Marcus Herse, ‘Skywalk’, 2013, C-Print

Marcus Herse, ‘Rokoko Park II’, 2016, C-Print

Marcus Herse, ‘Slope’, 2013, C-Print

Marcus Herse, ‘Little Snout’, 2013, C-Print

Marcus Herse, ‘Via Romana’, 2013, C-Print

Marcus Herse, ‘Everything out the’, 2016, C-Print

Marcus Herse, ‘Upperworld without Underworld’, 2013, C-Print

Marcus Herse, ‘Untitled’, 2016, C-Print
LodosMexico City

Mexico City

Lewis Teague Wright, ‘On a long ride to the beckoning coast, machine cut coral floated beneath the rear view mirror, chattering as the wheels curled and cowered into sinking potholes.’, 2017, CNC’ed Pine, 150 cm x 150 cm
Lewis Teague Wright, ‘On a long ride to the beckoning coast, machine cut coral floated beneath the rear view mirror, chattering as the wheels curled and cowered into sinking potholes.’, 2017, CNC’ed Pine, 150 cm x 150 cm
Oa4s, ‘Bunnypot’, 2017, Inkjet print on transparent film, Dimensions variable for large window, Minimum 250 cm x 173 cm

Elsa-Louise Manceaux, ‘Mass’, 2016, Gouache and color pencil on newsprint paper, 30.5 x 40 cm
Elsa-Louise Manceaux, ‘Tonic Pants’, 2016, Gouache and color pencil on newsprint paper, 30.5 x 40 cm
Elsa-Louise Manceaux, ‘Closed Form, Open Colors’, 2016, Gouache and color pencil on newsprint paper, 30.5 x 40 cm
Elsa-Louise Manceaux,’Dancing Hand’, 2016, Gouache and color pencil on newsprint paper, 30.5 x 40 cm
Michael Jon & AlanMiami & Detroit

Miami & Detroit

Michael Jon & Alan

www.michaeljonandalan.com
info@michaeljonandalan.com
+1 305 521 8520

Michael Jon & Alan present their final project as a gallery- the now empty Miami space is reimagined in the digital realm with immersive and dynamic compositions generated in realtime by Siebren Versteeg.

For the run of Dream Basel, MJ&A’s virtual walls will amass algorithmically-generated gestures. Additionally, individual paintings which combine algorithmically generated abstract painting with downloaded images published “today” by various online news sources are being generated and uploaded to the page and are available to be purchased as 20 x 16 inch digital prints on canvas.


Rod BartonLondon

London

Rod Barton

www.rodbarton.com
info@rodbarton.com
+44 (0) 207 639 0400

Tom Volkaert
‘Baby Studio View’, 2017
Glazed ceramics, wood, acrylic paint, C-print, dirt
Size Variable

Photography: André du Michel

A dream can be defined as a series of thoughts, images, and sensations occurring in a person’s mind. In this definition, the mind is the connecting space between the physical reality and the dreamscape. It informs both realms as a highway of form, content and presence. In Tom Volkaert’s new micro-project, produced in collaboration with Rod Barton for Dream Basel, the artist himself is this conduit. Volkaert, and by extension his practice, is positioned as this liminal pathway between the physical and the digital.

Inverting his practice, Volkaert flattens the physical space into a digital plane in which his ceramic sculptures cohabit themselves around his constructed recreation of his studio. The sculptures are the content, miniatures only in physical space, and convey Volkaert’s visual language of form, presence, texture into the non-space. Volkaert’s printmaking background comes to the fore in his drawing like sculptural practice. In much the same way that a picture book comes to life, the ceramic pieces maintain their authenticity in two dimensional space.

Amongst Volkaert’s studio maquette we explore his sculptures that flit between resembling alien life- forms, aboriginal symbolic idols and tableau-like functional objects. In the studio, the works can be all of these disparate aspects simultaneously. Chair legs become tentacles, symbolic motifs become functional apparatus and glaze becomes skin within the confines of the digital studio. The artist plays craftsman, deity and designer within his process and prepares to uplift the works to context that defines and obscures the works meaning itself.

This is not a process of manufacturing a fake. There is no intention to be duplicitous or to subvert the authentic works. Instead this is an exercise on a new kind of art presentation. Much like Dream Art Fair itself, Volkaert is asking buyers, viewers and observers to accept the digital space as wholly authentic.


SeventeenLondon

London

Seventeen

www.seventeengallery.com
info@seventeengallery.com
+44 (0) 20 7249 7789

Patrick Goddard lives and works in London. Recent solo exhibitions include ‘Go Professional’ at Seventeen, London, ‘Looking for the Ocean Estate’ at Almanac Projects, London, ‘Gone To Croatan’ at Outpost Gallery, Norwich and ‘Revolver II’ at Matt’s Gallery, London. Goddard completed an MFA at Goldsmiths University in 2011 and is currently studying for a doctorate at Oxford University, in Fine Art practice.



Patrick Goddard, ‘The Hellish Cycle Complete’, 2016, Single channel video with sound, Edition of 5

SupplementLondon

London

Supplement

www.supplementgallery.co.uk
info@supplementgallery.co.uk

Sophie Jung
Ben Cain
Marianne Spurr

Sophie Jung’s work operates at the intersection between performance, sculpture, and text. She brings established concepts into a state of disarray through a complex interplay of references to high culture, mass culture, and current socio-political events, destabilising them by verbally activating symbolically charged objects. She develops improvised conceptual spaces for provisional meaning and constantly changing definitions, which are then restaged in her performances.

Sophie Jung (born in 1982, Luxembourg, lives and works in London) received her BFA from the Rietveld Academy, Amsterdam and her MFA from Goldsmiths, London. Forthcoming projects include:, Liste Performance Project, curated by Eva Birkenstock, and a group exhibition at Blain|Southern curated by Tom Morton later in 2017. Recent projects and exhibitions include Producing My Credentials, Kunstraum London, UK 2017; Äppärät at Ballroom Marfa, Eh, co? Nah cis. Us! at Kunsthalle Basel for Jungs, Hier Kommt der Masterplan, Uncanny Valley at Wysing Art Centre, Cambridge, UK, Tarantallegra at Hester, NY as well as Unmittelbare Konsequenzen at Kunst Halle Sankt Gallen. In 2015 Sophie has spent 6 months in New York at ISCP, courtesy of the Edward Steichen Award Luxembourg and in 2016 she won the Swiss Art Award.

Ben Cain‘s practice deals with themes of work, labour, and artistic action. Cain has recurrently explored art’s ambiguous relationship to industry, commodification and immaterial labour. He is interested in how artworks might pose questions about what we think they are doing and, by implication, our role as viewers in their social and cultural production.

Ben Cain lives and works in London and Zagreb. He is a tutor on Fine Art at Central Saint Martins, London, and previously London Metropolitan University. Cain studied his MA at Jan van Eyck Akademie in 2000, and his BA in Interactive arts at Manchester Metropolitan University, UK in 1997. Throughout his career Cain has worked with sculpture, installation, theatre, sound, performance, and publication. His work has been exhibited internationally included Venice Biennale 2017, Manifesta 9, Genk, in 2012, and Weils, Brussels, in 2009. Recently his work has been exhibited several UK institutions including Grundy Art Gallery, Blackpool, Turner Contemporary, Margate, BlueCoat Gallery, Liverpool, The Tetley, Leeds, and Site Gallery, Sheffield.

Central to Marianne Spurr’s practice is the on-going activity of accumulation, organisation and classification of found materials and quotidian objects. Spurr thinks through her materials, in search of something, an event or an understanding. Through various processes she explores and tests the material relationships between objects in search of free and poetic associations. She remains open to identifying these associations, which begin to reveal themselves through their formal relationships, guided by an intuitive process or logic.

Marianne Spurr (Lives and works in London, UK), received her MA in painting in 2010—12 at the Royal college of Art, London, with an exchange at Hunter college, New York. Selected recent exhibitions include Tracks, Supplement, London; Today, And/Or gallery, London; LAST NIGHT, Parallel // Oaxaca at Material Art fair, curated by Attilia Fattori Franchini (2015); Open Heart Surgery, The Moving Museum, London; Pop Tarts, James Fuentes gallery, New York; Managing Bounces, Cell Project Space, London; Paradise Garage, Kinman, London (all 2013); Plenitude, Carl Freedman gallery, London, curated by Stephan Tanbin Sastrawidjaja; LOT, Cul de sac gallery, London, curated by NV projects; Samara Scott & Marianne Spurr, Seventeen gallery, London (all 2012).


Sophie Jung, ‘The Weather Is Here, Wish You Were Beautiful’, 2016, HD Video with sound, 31:24 mins, Edition 3+AP

Ben Cain, ‘Hold That Position’, 2017, Digital print on poly-silk, Dimensions variable
Ben Cain, ‘We Work (version 2)’, 2017, Helium balloon, ribbon, permanent marker pen, A4 paper, Dimensions variable
Ben Cain, ‘Arm Chair’, 2015, Powder coated steel, starched shirt sleeves, 75 x 45 x 50 cm
Ben Cain, ‘Arm Chair’, 2015, Powder coated steel, starched shirt sleeves, 75 x 45 x 50 cm
Marianne Spurr, ‘Noodles (zanshi~weave) #6’, 2017, Foam, wood, wool, vinyl, strapping, plastic tubing, twig, elastic cord, 24 x 25 cm
Marianne Spurr, ‘Untitled (zanshi~weave) #3’, 2017, Leatherette, towelling, foam, wool yarn, elastic cord, wood, fabrics, string, 22 x 23 cm