ART-REVIEW:Paris Internationale 2018

Xiong Wenyun, The Flowing Rainbow, Advancing Motorcade--Xuejila Mountain No.1, Giclee Print, FibaPrint Warm Cotton Gloss 315g, © Xiong Wenyun, Courtesy the artist and A Thousend Plateaus Art SpaceThis is the fourth edition of Paris Internationale, which takes place in Paris the same period with FIAC, reminds me the relation LISTE – Art Basel in the past. Paris Internationale points out at the same time two key points: On the one hand, that there is real and significant great need for a new art fair to house and present a series of new emerging Art Galleries that occupy their own space in the Art Market, besides the Galleries of the Belleville neighborhood began with the restless and pioneer Samy Abraham. And on the other, and most important is that Paris, making a new circle, is becoming the new Art Center in the field of Contemporary Art, regains the lead, a prediction that was noted by me on 2012, at the time that everyone was still focused on the hyper-saturated Berlin. At that time, I firmly supported that Paris is evolving into a new center, because I saw that the city had Institutional background as well as the obvious openings that were made temptingly towards Contemporary art. Paris Internationale, therefore, is the result of this need that has emerged dynamically in the field, since it was not a local Art Fair from the its beginning, not like Silk (for example), which is over. In Paris Internationale are participating International Galleries, some of which have switched to Fiac, as we found delighted. What makes the Art Fair special is that its concept was also built on space and this is of greatest interest the selection of the spaces. From 45 Avenue d’Iena on 2015, to a hotel build o 1897 at 51 Avenue d’Iena on 2016, and the former building of Liberation at Marais on 2017,  this year (2018) the Art Fair returns to a corresponding building of its first two years, a five story building at 6 Rue Alfred de Vigny.  Choosing not only expensive neighborhoods of the city but also unique buildings, which on the one hand highlight contemporary art, on the other hand, their architectural structure, which remains clean, is probably the greatest challenge to present the artworks. The result creates one of the most interesting dialogues in the Contemporary Art scene. The participating International Galleries from Jakarta and Athens to Warsaw and Berlin, from Berlin and Dublin to San Francisco and Los Angeles together with those from France are 53,  occupied the 5 floors of the building with very interesting artworks, which slowly and steadily conquer their own space in the city’s visual scene that is developing rapidly…-Efi Michalarou

Katarzyna Przezwańska, Early Polishness, 2017, ©, Katarzyna Przezwańska, Courtesy the artist and Galeria Dawid Radziszewski
Katarzyna Przezwańska, Early Polishness, 2017, ©, Katarzyna Przezwańska, Courtesy the artist and Galeria Dawid Radziszewski

 

 

Xiong Wenyun, The Flowing Rainbow, Cabin on Sichuan—Tibet Road Chang du No.46, Giclee Print, FibaPrint Warm Cotton Gloss 315g, © Xiong Wenyun, Courtesy the artist and A Thousend Plateaus Art Space
Xiong Wenyun, The Flowing Rainbow, Cabin on Sichuan—Tibet Road Chang du No.46, Giclee Print, FibaPrint Warm Cotton Gloss 315g, © Xiong Wenyun, Courtesy A Thousend Plateaus Art Space

 

 

Installation view of works by Raphael Danke and Bernd Ribbeck, Paris Internationale 2018, Courtesy Norma Mangione Gallery
Installation view of works by Raphael Danke and Bernd Ribbeck, Paris Internationale 2018, Courtesy Norma Mangione Gallery

 

 

Katarzyna Przezwańska, Early Polishness (detail), 2017, © Katarzyna Przezwańska, Courtesy the artist and Galeria Dawid Radziszewski
Katarzyna Przezwańska, Early Polishness (detail), 2017, © Katarzyna Przezwańska, Courtesy the artist and Galeria Dawid Radziszewski

 

 

Katarzyna Przezwańska, Left: Untitled, 2018, Peacock feathers, seashell, metal, wood 44 x 30 x 6,5 cm. Center:  Untitled, 2018, Casis Cornuta shell, acrylic, cameleon laquer, varnish, quail egg, polyurethane lacqer 24,5 x 27 x 21,5 cm. Right: Untitled, 2018, Beetle Elytra Sternocera Wings, coral fossil, metal, stone, wood 21 x 16 x 7 cm + wooden cube, © Katarzyna Przezwańska, Courtesy the artist and Galeria Dawid Radziszewski
Katarzyna Przezwańska, Left: Untitled, 2018, Peacock feathers, seashell, metal, wood 44 x 30 x 6,5 cm. Center: Untitled, 2018, Casis Cornuta shell, acrylic, cameleon laquer, varnish, quail egg, polyurethane lacqer 24,5 x 27 x 21,5 cm. Right: Untitled, 2018, Beetle Elytra Sternocera Wings, coral fossil, metal, stone, wood 21 x 16 x 7 cm + wooden cube, © Katarzyna Przezwańska, Courtesy the artist and Galeria Dawid Radziszewski

 

 

Installation view of works by Christiane Blattmann, Paris Internationale 2018, © Photo: Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru
Installation view of works by Christiane Blattmann, Paris Internationale 2018, © Photo: Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru

 

 

Xiong Wenyun, The Flowing Rainbow, Cabin on Sichuan-Tibet Road—Zheduo Mountain No.18, Giclee Print, FibaPrint Warm Cotton Gloss 315g, © Xiong Wenyun, Courtesy the artist and A Thousend Plateaus Art Space
Xiong Wenyun, The Flowing Rainbow, Cabin on Sichuan-Tibet Road—Zheduo Mountain No.18, Giclee Print, FibaPrint Warm Cotton Gloss 315g, © Xiong Wenyun, Courtesy A Thousend Plateaus Art Space

 

 

Left: Raphael Danke and Bernd Ribbeck, Paris Internationale 2018, Courtesy Norma Mangione Gallery. Right: Ola Vasiljeva, Qualcuno si è seduto sulla mia sedia (jacket), 2018, Wool, Christmas ornaments, plastic foil, 150 x 95 cm, Courtesy the Artist and Antoine Levi-Paris
Left: Raphael Danke and Bernd Ribbeck, Paris Internationale 2018, Courtesy Norma Mangione Gallery. Right: Ola Vasiljeva, Qualcuno si è seduto sulla mia sedia (jacket), 2018, Wool, Christmas ornaments, plastic foil, 150 x 95 cm, Courtesy the Artist and Antoine Levi-Paris

 

 

Christiane Blattmann, High Rise Boots, 2017, ceramics, gesso, wax Dimensions variable, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru
Christiane Blattmann, High Rise Boots, 2017, ceramics, gesso, wax Dimensions variable, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru

 

 

Installation view, Mikael Hegnar, Mirak Jamal, Ane Graff, Paris Internationale 2018, Photo: Renato Ghiazza, Courtesy 1857-Oslo
Installation view, Mikael Hegnar, Mirak Jamal, Ane Graff, Paris Internationale 2018, Photo: Renato Ghiazza, Courtesy 1857-Oslo

 

 

Christiane Blattmann, Entwaffnung (Detail), 2018,  Silicone, pigment, jute 50 x 55 cm, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru
Christiane Blattmann, Entwaffnung (Detail), 2018, Silicone, pigment, jute 50 x 55 cm, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru

 

 

Christiane Blattmann, Entwaffnung (Detail), 2018,  Silicone, pigment, jute 50 x 55 cm, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru
Christiane Blattmann, Entwaffnung (Detail), 2018, Silicone, pigment, jute 50 x 55 cm, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru

 

 

Christiane Blattmann, Touch (Detail), 2018, Silicone, pigment, jute, 115 x 175 cm, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru
Christiane Blattmann, Touch (Detail), 2018, Silicone, pigment, jute, 115 x 175 cm, © Christiane Blattmann, © Photo Sebastiano Pellion Di Persano, Courtesy Damien & The Love Guru