ART BASEL 2019 ART BASEL 2019

13/06/2019 – 16/06/2019

Art Basel 2019
Messeplatz 10
4058 Basel
Switzerland
Art Basel Website / Nagel Draxler @ Art Basel

KA_From the series Following the Modern Genealogy, 2018_Photographs, vintage documents, photocopies on cardboard_77x102cm_3

Kader Attia
From the series: „Following the Modern Genealogy“, 2018
Photographs, vintage documents, photocopies on cardboard
77 x 102 cm

Abdulnasser Gharem
„Concrete Block IV“, 2018
Rubber stamps and industrial lacquer paint on 9 mm plywood board
100 x 111 x 54 cm

Gang Zhao
„People’s Congress 1“, 2019
Oil on canvas
130 x 89 cm

Gang Zhao
„People’s Congress 2“, 2019
Oil on canvas
130 x 89 cm

Abdulnasser Gharem
„The Stamp (Inshallah)“, 2008
Hand carved oversized wooden stamp with embossed rubber face
95 x 95 x 120 cm
Edition of 8 + 3 AP

Stefan Müller
„Der Große Raub Von Wolkenkuckucksheim“, 2019
Acrylic on canvas
192 x 192 cm

Heimo Zobernig
Untitled, 2005
Fabric tape on primed canvas
100 x 100 cm

Heimo Zobernig
Untitled, 2005
Fabric tape, primed canvas
200 x 200 cm

Heimo Zobernig
Untitled, 2011
Acrylic, canvas
60 x 60 cm

Heimo Zobernig
Untitled, 2005
Acrylic, tape, canvas
100 x 100 cm

Egan Frantz
„Neither fish nor fowl, nor fish and fowl, at once“, 2019
Synthetic polymer on canvas
200 x 136 cm

Egan Frantz
„Who doesn’t like a little fire“, 2019
Synthetic polymer on canvas
200 x 136 cm

Abdulnasser Gharem
„The Safe“, 2019

Art Basel – Unlimited

Sayre Gomez
„AMX“, 2019
Acrylic on canvas over panel
152.4 x 122 cm

Martha Rosler
„Wine (Muktada)“, 2004
From the series: „House Beautiful, Bringing the War Home, New Series“
Photomontage as C-Print

Martha Rosler
„Hooded Captives“, 2004
From the series: „House Beautiful, Bringing the War Home, New Series“
Photomontage as C-Print

Martha Rosler
„Back Garden“, 2004
From the series: „House Beautiful, Bringing the War Home, New Series“
Photomontage as C-Print

Martha Rosler
„Lounging Woman“, 2004
From the series: „House Beautiful, Bringing the War Home, New Series“
Photomontage as C-Print

Detail:
Mark Dion
„Cabinet of Marvels“, 2019 Mixed media
190 x 130 x 48 cm

Mark Dion
„Cabinet of Marvels“, 2019
Mixed media
190 x 130 x 48 cm

Kader Attia
„Repaired Broken Mirror“, 2017
Mirror, iron wire, wooden support
24 x 21 x 3 cm

Gang Zhao
„Chinese horror“, 2019
Oil on canvas
150 x 90 cm

Sayre Gomez
Untitled, 2019
Acrylic on canvas over panel
91.44 x 121.92 cm

Dominik Sittig
„Autoscooter, 1967 (Hanna, Bärbel)“, 2019
Acrylic on unprimed cotton
165 x 115 cm

Abdulnasser Gharem
“The Safe”, 2019
Insulated quilted synthetic leather walls and door, stainless steel basin, plastic awning, stamps
600 × 400 × 400 cm
236.2 × 157.5 × 157.5 in

Installation view
Art Basel Unlimited 2019

Photo: Simon Vogel

Exhibition view
Art Basel, 2019
Galerie Nagel Draxler / Hall 2.1 Booth S16

Foto: Simon Vogel

Martha Rosler
From the series: „House Beautiful, Bringing the War Home, New Series“
Photomontage as C-Print

Press Release

HALL 2.1, S16

With works by:
KAI ALTHOFF, KADER ATTIA, MARK DION, EGAN FRANTZ, ABDULNASSER GHAREM, SAYRE GOMEZ, MARTIN KIPPENBERGER, STEFAN MÜLLER, ALBERT OEHLEN, MARTHA ROSLER, DOMINIK SITTIG, GANG ZHAO, HEIMO ZOBERNIG

Preview and Prices on request

UNLIMITED

ABDULNASSER GHAREM – THE SAFE

Galerie Nagel Draxler is delighted to announce our participation at Art Basel Unlimited. In collaboration with Galerie Brigitte Schenk we will be showing the complex installation The Safe by Abdulnasser Gharem:

A sound-proof padded cell as to be found in psychiatric wards or goals for violent inmates will be erected to measure 4 x 6 x 4 meters. The walls are rubberised. This material corresponds to Gharem’s artistic procedure, in which rubber stamps are at once subjects of and material for his art, brimming with hidden messages arranged back-to-front as they would be on a stamp. Likewise, in the cell the contours of the Saudi Arabian flag can be made out. Inside the cell, we hear classical music playing softly. It is impossible to evade the sense of claustrophobic oppression, the distress and powerlessness, the malignity. With the pre-prepared stamps put at their disposal on the autopsy table, visitors, ushered in by guards at roughly one-minute intervals, can leave their ‘imprint’ on the wall provided for that purpose or inscribe a hand-written statement on it. The stamps are with terms originating from politics and historical epics of violence.