<p>Pieces by Alicja Kwade, Omer Fast, Thaddeus Mosley, and Nina Beier are among the highlights of Sites, a program open to all at Paris+ par Art Basel&nbsp;</p>

Sarah Moroz

Monumental artworks take over the French capital

<p>As part of the inaugural edition of Paris+ par Art Basel, a complementary program taking place beyond the walls of the Grand Palais Éphémère threads artworks throughout the French capital. The Sites sector unfolds over four locations: the Chapelle des Petits-Augustins des Beaux-Arts de Paris, the Place Vendôme, the Musée national Eugène-Delacroix and the Jardin des Tuileries, where 22 pieces form the exhibition ‘La Suite de l’Histoire’ curated by Annabelle Ténèze, director of Les Abattoirs in Toulouse. Here are some highlights.</p>

<p><strong>Place Vendôme<br /></strong><a href="https://parisplus.artbasel.com/catalog/artist/6705/Alicja-Kwade">Alicja Kwade</a><b style="background-color: initial;">, <em style="background-color: initial;">Au cours des mondes</em>, 2022<br /></b><a href="https://parisplus.artbasel.com/catalog/gallery/1215/kamel-mennour">kamel mennour</a><strong><br /></strong></p><p><strong></strong></p><p><strong><u></u></strong></p><p>Alicja Kwade presents an installation of stone orbs and Escher-like concrete staircases on the Place Vendôme. Kwade, who has previously been commissioned to create a site-specific installation for The Met’s Roof Garden in New York, questions humanity’s place in the world beyond the framework of hierarchical anthropocentrism. ‘We have to face the absurdity of being placed all together on a spinning globe flying around in the void,’ says the Polish-born, Berlin-based artist. Curated by Jérôme Sans, this installation highlights the drama of the line, the physical experience of matter, and the looming ecological emergency.</p>

<p><strong>Chapelle des Petits-Augustins des Beaux-Arts de Paris<br /></strong><a href="https://parisplus.artbasel.com/catalog/artist/15253/Omer-Fast">Omer Fast</a><strong>,&nbsp;</strong>‘<b style="background-color: initial;">Karla</b>’<b style="background-color: initial;"><em style="background-color: initial;">,</em> 2022<br /></b><a href="https://parisplus.artbasel.com/catalog/gallery/1561/gb-agency">gb agency</a><strong><br /></strong></p><p><strong><u></u></strong></p><p>For this solo show, the work of Jerusalem-born, Berlin-based Omer Fast bridges the digital present and the art historical past. Fast’s work is staged within the 17<sup>th</sup>-century convent of Petits-Augustins, now part of the Beaux-Arts de Paris art school chapel (which was France’s very first public museum). The works presented (video, sculpture, and drawing) enter into dialogue with the chapel’s sculptures.&nbsp;‘Karla’&nbsp;f<span style="background-color: initial;">eatures a morphing holographic face projected alongside a variety of installations. One installation comprises a brass instrument, a ceramic toilet, a wooden crate, and an obsessive amalgam of drawings referencing a 1917 Max Beckmann self-portrait, another is composed of Styrofoam, plexiglas, cherry pits, and net, among other materials.The exhibition, built from stereotypes and archetypes, allows the artist to fictionalize what he sees of our world, its transformation and aspirations.</span></p>

<p><strong>Musée national Eugène-Delacroix<br /></strong><a href="https://parisplus.artbasel.com/catalog/artist/55674/Thaddeus-Mosley">Thaddeus Mosley</a><strong><br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/2910/Karma">Karma</a><strong><br /></strong></p><p><strong><u></u></strong></p><p>Influenced by Isamu Noguchi and Constantin Brâncuși, American artist Thaddeus Mosley presents a multipart installation composed of new and recent carved sculptures. The sylphlike pieces, curated by Annabelle Ténèze, range in size from miniature to monumental. Mosley carved each from felled trees: walnut, sycamore, hickory, and cherry (he collaborated with Pittsburgh’s Forestry Division to access the timber). The salvaged wood is chiseled into biomorphic forms; a process Mosley likens to jazz improvisation. </p>

<p><strong>Jardin des Tuileries<br /></strong><a href="https://parisplus.artbasel.com/catalog/artist/8282/Nina-Beier">Nina Beier</a><strong>,<em style="background-color: initial;"> Guardians</em>, 2022<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/2705/Croy-Nielsen">Croy Nielsen</a> and&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1282/Standard-Oslo">Standard (Oslo)</a></p><p><a href="https://www.artbasel.com/catalog/gallery/1282/Standard-Oslo"></a>Nina Beier exhibits capsized marble lion sculptures, with the crevices in their eyes and horizontal haunches filled with bird seed. The proud and powerful creatures – previously and prominently featured in Beier’s performance <em style="background-color: initial;">All Fours </em>(2022) at the Hammer Museum in Los Angeles<em style="background-color: initial;"> – </em>are here rendered helpless and passive<em style="background-color: initial;">.</em> Beier, who is based between Copenhagen and Berlin, is also currently showcasing her bronze sculptural installation <em style="background-color: initial;">Women &amp; Children</em> at New York’s High Line.</p>

<p><strong>Jardin des Tuileries<br />Roméo Mivekannin, <em>Les Noces</em>, 2022<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/20820/Galerie-C%C3%A9cile-Fakhoury">Galerie Cécile Fakhoury</a><strong><br /></strong></p><p>Born in Bouaké on the Ivory Coast, Roméo Mivekannin is based between southwestern France and Benin, the latter inspiring his fascination with voodoo cosmology. After training as a cabinetmaker, Mivekannin studied architecture in Toulouse. In parallel, he experimented with sculpture and painting, and eventually completed a multidisciplinary thesis linking art history, sociology, and architecture. His installation <em>Les Noces</em> (<em>The Wedding Feast</em>) reinterprets&nbsp;<em>Nozze di Cana</em> (1562–1563) by Paolo Veronese at a monumental scale, extended across composite canvases.</p>

<p><strong>Jardin des Tuileries<br /></strong><a href="https://parisplus.artbasel.com/catalog/artist/11427/Christoph-Weber">Christoph Weber</a><strong>, <em style="background-color: initial;">Gegenstück</em>, 2022<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/1132/Galerie-Jocelyn-Wolff">Galerie Jocelyn Wolff</a><strong><br /></strong></p><p>Viennese Christoph Weber presents work from his 'Gegenstück' series. These hulking, splintered concrete blocks bring fragility and strength into sharp contrast. Reminiscent of Arte Povera and Minimalism, his presentation for Sites encompasses three massive slabs featuring violently disruptive breakages: an irreparable and intriguingly unexplained transformation of the material.</p>

<p><strong>Jardin des Tuileries<br />Grazia Varisco, <em style="background-color: initial;">Gnom-one, two, three</em>, 1984<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/10702/M77-Gallery">M77</a><strong><br /></strong></p><p>Grazia Varisco presents one of her celebrated varnished aluminum geometric works. In the early 1960s, the artist was a member of the Group T, a kinetic and Op Art collective. Once the group disbanded, Varisco continued to experiment with folds and tucks using geometric forms. <em>Gnom-one, two, three</em> was produced in 1984 during this period of independence. Her work disorients the viewer’s perception of space, throwing horizons askew.&nbsp;</p>

<p><strong>Jardin des Tuileries<br /></strong><a href="https://parisplus.artbasel.com/catalog/artist/8847/Niki-de-Saint-Phalle">Niki de Saint Phalle</a><strong>, <em style="background-color: initial;">Obélisque bleu avec fleurs</em>, 1992<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/1533/Galerie-Georges-Philippe-Nathalie-Vallois">Galerie Georges-Philippe &amp; Nathalie Vallois</a></p><p>This gleaming blue obelisk – made of fiberglass, resin, stained glass, mirrored glass, and steel armature – was fashioned using techniques Niki de Saint Phalle (1930-2002) perfected on the site of her esoteric Tarot Garden sculpture park. The artist produced these obelisks to campaign against HIV and AIDS discrimination in the early days of the virus. The phallic form was at once an homage to those who died, a reference to condoms, a feminist gesture of contempt regarding male chauvinism, and an allusion to the Luxor Obelisk on the Place de la Concorde in Paris. <em style="background-color: initial;">Obélisque bleu avec fleurs</em>,  crystallizes de Saint Phalle’s desire to integrate sociopolitical realities within aesthetic creation.</p>

<p><strong>Jardin des Tuileries<br />Graciela Sacco, <em style="background-color: initial;">Bocanada</em>, 1993<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/2636/Rolf-Art">Rolf Art</a><strong><br /></strong></p><p>Graciela Sacco <strong></strong>(1956-2017) was devoted to the Argentinian avant-garde movement in which artistic experimentation was inextricable from sociopolitical commitment against the reigning military dictatorship. Sacco has represented Argentina in international biennials in Shanghai (2004) and Venice (2001).  For her&nbsp;‘Bocananda’&nbsp;series, Sacco illegally fly-posted her work across walls and buildings in cities including New York, Sao Paolo, and Rosario. Depicting close-ups of open mouths – a loaded symbol for communication, appetite, and expression–these images infiltrated the urban landscape. Revived here nearly 20 years later, it still resonates as powerfully today.</p>

<p><strong>Jardin des Tuileries<br />Michael Dean, <em style="background-color: initial;">The Big Since</em>, 2022<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/1214/Mendes-Wood-DM">Mendes Wood DM</a></p><p>London-based Michael Dean creates work out of concrete, steel, and padlocks. For the  Turner Prize exhibition at Tate Britain in 2016, the British artist flooded the gallery with £20,436 worth of pennies: the amount that the UK government calculated as the minimum financial need for two adults and two children for a year. For Sites, he presents the bronze sculpture <em>The Big Since</em>, inspired by the wire that straps a champagne’s cork into place: a small element of a fête writ large. His performance <em>Tendre sur Estime</em><strong><em>,</em></strong> curated by Julie Boukobza, will also be accessible off-site at the Eglise Saint-Eustache as part of the Move festival, organized by the Centre Pompidou.<strong></strong></p>

<p><strong>Jardin des Tuileries<br />Zuzanna Czebatul, <em style="background-color: initial;">Macromolecule Exploiting some Biological Target</em>, 2022<br /></strong><a href="https://parisplus.artbasel.com/catalog/gallery/35176/sans-titre">sans titre</a><strong><br /></strong><strong></strong></p><p>Berlin-based Zuzanna Czebatul&nbsp;draws inspiration from pop culture. Here, she has designed a gigantic ecstasy tablet in PVC, titled <em>Macromolecule Exploiting some Biological Target</em>. The words ‘Rush’ and ‘Revolution’ are scribbled in capital letters on each side of the oversized pellet. This sculpture, despite appearances, is merely filled with air: it functions as a cheeky monument to the euphoria of living out anti-conformist values within club culture.</p><hr /><p>Sites is free and open to all. To consult the program, click&nbsp;<a href="https://parisplus.artbasel.com/galleries#91932">here</a>.</p><p>The Sites sector's Official Partner is David Yurman. ‘La Suite de l'Histoire’ was realized in collaboration with the Musée du Louvre and the Musée national Eugène-Delacroix. From October 20 to 23, students from the École du Louvre will be available between 3pm and 5:30pm at all four locations of the sector to guide visitors.</p><p>Caption for full bleed image:&nbsp;Niki de Saint Phalle, <em>Obélisque bleu avec fleurs </em>(detail), 1992.</p>

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Pieces by Alicja Kwade, Omer Fast, Thaddeus Mosley, and Nina Beier are among the highlights of Sites, a program open to all at Paris+ par Art Basel

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