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Marina Abramović, Coming and Going, 1973/2016

Marina Abramović

Coming and Going, 1973/2016

set of 9 silver gelatin prints

image: 7 x 7 inches (17.8 x 17.8 cm) each
paper: 9 1/4 x 9 1/4 inches (23.5 x 23.5 cm) each
framed: 16 3/4 x 16 3/4 x 2 inches (42.5 x 42.5 x 5.1 cm) each
overall: 50 1/4 x 50 1/4 x 2 inches (127.6 x 127.6 x 5.1 cm)

edition of 7 with 2 APs (#1/7)

(MA-326.1)

Anthony Akinbola, Untitled study 12, 2023

Anthony Akinbola

Untitled study 12, 2023

durags on aluminum frame

36 x 36 inches (91.4 x 91.4 cm)

(AAk-31)

MARCEL DUCHAMP, L.H.O.O.Q., 1919/1964

MARCEL DUCHAMP

L.H.O.O.Q., 1919/1964

reproduction of the Mona Lisa

paper: 11 7/8 x 9 1/16 inches (30.2 x 23 cm)
framed: 21 7/8 x 18 1/8 x 1 3/4 inches (55.6 x 46 x 4.4 cm)

edition of 35 (#18/35)

(MD-115)

Awol Erizku, Figi, 2021-2023

Awol Erizku

Figi, 2021-2023

digital C-print mounted with 1/8" Plexi, LED light box frame

print: 60 x 48 inches (152.4 x 121.9 cm)
framed: 61 3/8 x 49 3/8 x 3 3/4 inches (155.9 x 125.4 x 9.5 cm)

edition of 3 with 2 APs (#1/3)

(AE-17.1)

Rebecca Horn, Am Kreuz, 2004

Rebecca Horn

Am Kreuz, 2004

pencil, colored pencil, acrylic, India ink, and Carmignano on paper

paper: 71 5/8 x 59 1/16 inches (182 x 150 cm)
framed: 81 1/2 x 68 7/8 x 1 3/4 inches (207 x 175 x 4.5 cm)

(RH-BL-3037)

Callum Innes, Exposed Painting Sapphire Blue, 2022

Callum Innes

Exposed Painting Sapphire Blue, 2022

oil on Birch Ply

70 7/8 x 68 7/8 inches (180 x 175 cm)

(CI-TP.48.22)

Idris Khan, A quiet room, 2023

Idris Khan

A quiet room, 2023

oil based ink on gesso ground, aluminum panel

panel: 63 x 51 3/16 x 1 1/16 inches (160 x 130 x 2.7 cm)
framed: 63 3/4 x 52 x 2 inches (162 x 132 x 5 cm)

(IK-664

JOSEPH KOSUTH, 'Titled (Art as Idea as Idea)' [mean] (Ety.-E.P.), 1967

JOSEPH KOSUTH

'Titled (Art as Idea as Idea)' [mean] (Ety.-E.P.), 1967

form of presentation: photograph mounted to sintra

mounted photograph: 48 x 48 inches (121.9 x 121.9 cm)
approximate size of certificate: 4 1/8 x 3 3/4 inches (10.5 x 9.5 cm)

(JK-333)

Hugo McCloud, pull and push, 2023

Hugo McCloud

pull and push, 2023

single use plastic mounted on panel

painting: 72 x 108 inches (182.9 x 274.3 cm)
framed: 73 3/4 x 109 7/8 x 2 3/8 inches (187.3 x 279.1 x 6 cm)

(HM-433)

Mariko Mori, Cycloid III, 2015

Mariko Mori

Cycloid III, 2015

aluminum, paint and lacquer

79 15/16 x 79 9/16 x 77 1/4 inches (203 x 202.1 x 196.2 cm)

edition of 5 with 2 APs (#1/5)

(MMo-75.1)

Sam Moyer, Landlocked, 2023

Sam Moyer

Landlocked, 2023

marble, acrylic on plaster-coated burlap mounted to MDF

97 1/2 x 60 x 1 inches (247.7 x 152.4 x 2.5 cm)

(SM-P.23.1586)

Shahzia Sikander, NOW, 2023

Shahzia Sikander

NOW, 2023

patinated bronze

97 1/2 x 49 x 49 inches (247.7 x 124.5 x 124.5 cm)

edition of 7 with 2 APs (#2/7)

(ShS-S.23.122.2)

Loló Soldevilla, Sin título, ca. 1953

Loló Soldevilla

Sin título, ca. 1953

mixed media composition with wooden dowels in high relief on masonite

panel: 27 1/2 x 36 3/4 inches (69.8 x 93.3 cm)
framed: 28 1/4 x 37 7/16 x 2 1/4 inches (71.8 x 95.1 x 5.7 cm)

(LSol-84)

Janaina Tschäpe, Dawn, again and again (mein Abendrot), 2023

Janaina Tschäpe

Dawn, again and again (mein Abendrot), 2023

oil and oil stick on canvas

80 x 120 inches (203.2 x 304.8 cm)

(JTs-P.23.5657)

Wu Chi-Tsung, Cyano-Collage 171, 2023

Wu Chi-Tsung

Cyano-Collage 171, 2023

cyanotype photography, Xuan paper, acrylic gel, acrylic, mounted on aluminum board in two parts

each panel: 88 9/16 x 35 7/16 inches (225 x 90 cm)
approx. overall: 88 5/8 x 72 7/8 inches (225.1 x 185.1 cm)

(WCT-74.AB)

新聞稿

Art Basel
Hall 2.1, Booth P2


VIP Days: June 13 – 14, 2023
Public Dates: June 15 - 18, 2023


Unlimited, Wu Chi-Tsung, Booth U59
Parcours, Julian Charrière, Kunstmuseum Basel


Sean Kelly is delighted to participate in Art Basel where we will present a carefully curated selection of works by established and emerging artists represented by the gallery, that explore a spectrum of relevant topics including social and environmental issues, globalization and migration, representations of gender and the self, and the relationship between figuration and abstraction. Our booth will feature a suite of nine photographs by Marina Abramović that act as a reflection of the artist’s mortality; Abramović’s figure slowly disappears into a graveyard, moving sequentially within the frame as she draws away from the camera. Anthony Akinbola’s signature Camouflage paintings, constructed from various colored du-rags, represents a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. New work and stills from Julian Charrière’s film Controlled Burn, on view at Art Basel Parcours, address the fossilized lives of past geological ages, the agency of plants in shaping planetary futures, and humankind’s fraught relationship to fire. Marcel Duchamp’s iconic work L.H.O.O.Q., in which he playfully altered a postcard of Leonardo da Vinci's Mona Lisa, became the artist’s most famous readymade and an enduring symbol of the international Dada movement. Awol Erizku’s work explores the intersections of ancient mythology, diasporic tradition, and contemporary culture through his symbolic constellation of images spanning a breadth of media. Rebecca Horn’s Bodylandscape paintings extend her interest in the body as a machine into an autobiographical, performative arena. While his working methodology remains consistent, Callum Innes’ new Tondo paintings initiated a number of important evolutions in the way he creates the paintings, allowing for greater fluidity and increased, direct contact with the work. Idris Khan’s compositions, defined by his technique of imposing multiple layers of image, text, and music upon one another, allude to the excessive proliferation of information in the technical age, while simultaneously advocating for a slower, more considered way of looking. Joseph
Kosuth’s mounted photograph, from his series based on dictionary definitions, is among his earliest works in which he considers the work of art to be the definition of the given word. In Hugo McCloud’s plastic painting, the artist uses his material as a metaphor for understanding our similarities and differences as humans; to connect to our environment; and to highlight the impact on of our carbon footprint. Mariko Mori’s Cycloid sculpture is inspired by the latest theories in astrophysics, which postulates an endless cyclic universe that eternally repeats life and death. Sam Moyer’s new works, in which stone is inlaid in canvas, blurs the lines between painting and sculpture to create a powerfully expressive wall-mounted piece portraying qualities of painting, surface light, and layers. Shahzia Sikander’s monumental sculpture, an edition of which was originally installed on the rooftop of the Courthouse of the Appellate Division, First Department of the Supreme Court of the State of New York, presents a female figure as a symbol of power and justice that examines longstanding practices and attitudes impeding the advancement of women. Loló Soldevilla’s paintings, collages and panel constructions explore the dynamics of light, shadow, and relief, suggesting movement and rhythm using geometric patterns and color. Alive with vibrancy and richness, Janaina Tschäpe’s new paintings are enhanced by the use of oil sticks, creating a dynamic and vigorous presence. Expanding upon traditional Chinese shan shui paintings, Wu Chi-Tsung’s cyano-collages replace the traditional ink and brush method with experimental photography techniques to reimagine the imagery of traditional landscape paintings.

For all inquiries, please contact the gallery at info@skny.com

For more information on the fair, including hours and ticketing information, please visit artbasel.com