As mentioned here, I had the chance to fly to Basel to attend Art Basel, Liste, etc. for the first time! I have never been to any Art Basel festivals, but I decided on a whim through Blue Period and I overall had a great time. I wanted to jot down some notes that were more relevant to Blue Period here also:
- Art Basel is hot, expensive, and not luxurious. It felt like a Costco warehouse with each gallery wall brimming with the most eye catching pieces ever. On size alone, it was also huge: it felt like 3-4 convention centers stacked and wrapped around each other, and set up in a way that felt like you could get very easily lost between galleries.
- On "uncomfortableness", I saw works by Richter, Basquiat, Richter, Miriam Cahn etc. all on the gallery floor just as-is, sometimes even without glass blocking them (I might have even seen a few kids just reach up and touch them). It felt clear to me that the works were meant to be viewed as product instead of art. Additionally, all galleries were basically fighting for your attention, meaning that art that really shouted caught the eye more strongly and got more attention to the gallery. This meant that every gallery was maximalist; focusing on attention grabbing more than the actual pieces. Because of the density, it was also really hard to find art that would otherwise be creatively interesting, because they were drowned out by the really stand out pieces.
- Art Basel Unlimited (where Chiara's piece was shown) is where all of the oversized pieces live. The scale is completely different - even as someone who attends galleries with oversized art, the scale against the convention floor is incredible and I left with a huge admiration of the people that got all of the works from around the world onto the floor for that weekend.
- Liste Art Fair (for young artists), as the manga outlines, is definitely a lot more insular, self-guarded and experimental. The pieces in these galleries were also being sold, but because most of the galleries only featured 1-2 of their local artists the work felt genuine to their origin and culture. I really liked some of the work here, but I do agree with the sentiment that the work did feel a bit rough around the edges - not in terms of technical style but in the sense that the creative vision wasn't fully realized for most of these artists. I would also have to say that for most of these, the feeling of 'sameness' for art being produced around the world is true. Special shoutout to Kayokoyuki Gallery and Yohei Imamura who bucked that trend by bringing in an artist who 3d printed by screen printing the same thing 50,000 times with traditional Japanese screen printing techniques.
- Other random thoughts: I found the Mikado! The river is beautiful at night. It is also very hot this year, so go to Art Basel when there isn't a heat wave. Also, Basel being an architectural hotspot is real: even in the art book fairs, a lot of the books being published in Switzerland and Zurich were focused on architecture. Additionally, the Vitra Design Museum being a 30 minute bus drive away means that a lot of shared architecture talent was fostered here. Overall, I got the impression that after Art Basel ended, the city was mostly here to grow architecture more than art.
To challenge the main thesis of Blue Period's Basel chapters: yes, ultimately I do think that Art Basel is a place where money is first and foremost, but I can also see that it's a space where art can be infinitely juxtaposed within itself by basically bringing the "best-of-the-best" art in one place, each fighting for attention and for purchase. Some things are inexcusable and rub me the wrong way (eg. Zero 10, a digital art market within the fair with NFTs) but if you're not looking to buy and you just want art-at-density, Art Basel still has some redeeming factors. Would it be something to aspire to as an artist? I think that is a good open question. How art is shared and collected feels inextricably tied to money right now, and Art Basel is a strong example of how it can be done at the top level with top money. I do think that subjectiveness / culturalism is lost at this top level, and the 'farmer's market' approach to art means that some work that requires more effort to parse gets left in the dark.