<p>Their poetic take on the world will be on display in the show's Galeries Émergentes sector</p>

Ingrid Luquet-Gad

Seek out these five artists on the rise at Paris+ par Art Basel

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<p>How do      artists      relay the changing texture of the world?                         Here are five projects selected from the 16 solo presentations featured in Paris+ par Art Basel’s Galeries Émergentes sector      that address this key question.</p><p><strong>Caline Aoun (b. 1983, Lebanon)<br />Presented by&nbsp;</strong><a href="https://www.artbasel.com/catalog/gallery/15312/Marfa">Marfa'</a><strong style="background-color: initial;">, Beirut<br /></strong>Caline Aoun <w style="background-color: initial;">contemplates time and <w>gives material dimension to its movement<w>. Against the <w>accelerated pace of<w> the digital <w>age, the artist makes timelines tangible: rematerialized, sedimented<w>, and organic. <w>In <em>Matters of Time</em>, the artist presents work around a central fountain <w>spouting cyan printer ink. A series of monochrome superimposed prints on paper<w>  – each <w>with a title stat<w>ing the ink colors used and the exact duration of the printing process<w> – are hung on the walls<w>.<w>These are <w>accompanied by</w> s<w>wathes of canvas<w> which have been soaked in <w>residual&nbsp;<w>ink from the artist's studio, or left outside and exposed to the elements. The artist’s work<w>s function as <w>a manifesto for deceleration: something within everyone's reach.</w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></p>

<p><strong>Marlon De Azambuja (born in 1978 in Brazil)<br />Presented by&nbsp;</strong><a href="https://www.artbasel.com/catalog/gallery/1161/Instituto-de-visi%C3%B3n">Instituto de visión</a><strong style="background-color: initial;">, Bogota and New York<br /></strong><strong style="background-color: initial;"></strong>In his new series&nbsp;<w style="background-color: initial;"><em>Posse</em>, Marl<w>on de Azambuja brings together two components<w> that are seemingly in opposition: colorful 17th-century European porcelain parakeets perched on a model <w>Brutalist <w>building. <w><w>For the artist, these elements illustrate the&nbsp;systems of exploitation inherited from the Enlightenment and from universalist, colonial<w>, and patriarchal modernity<w>.&nbsp;<w>He <w>perceives this insidious form of repression <w>in </w>Brazilian functionalist architecture<w> and<w> identifies<w> its<w> effects</w></w></w> o<w>n those living <w>with<w>in it – himself included.&nbsp;</w></w>The bird <w>at&nbsp;<w>the base<w> of the building makes<w> some of these legacies visible as well, <w>in particular the exoticism projected onto the country by its  colonizers.</w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></p>

<p><strong>Thea Gvetadze (b.&nbsp;</strong><strong>1971,&nbsp;</strong><w><strong>Latvia</strong><strong>)<br />Presented by&nbsp;</strong></w><a href="https://www.artbasel.com/catalog/gallery/33006/LC-Queisser">LC Queisser</a><strong style="background-color: initial;">, Tbilisi<br /></strong>In Thea Gvetadze’s work, there is no dominant language, subject<w style="background-color: initial;">, or medium, but rather a register of techniques and materials<w> – clay, mosaic, textile, painting on velvet<w> – that express a vernacular sensibility. It’s the same sensibility that imbues fables with their <w>enduring significance and gives popular forms of expression their affective truth. Surveying rural regions of Georgia, the artist examine<w>s historical <w>iconography and <w>contemporary vernaculars. The installation <em>Divine Beauty, Hellish Bitterness for One's Own, and Universal Orphanhood</em> illustrates this approach. A composite mural, large-format painting<w>, and textile piece are all facets of the “benevolent philosopher”: a theatrical hybrid character <w>made of watermelon flesh<w>  and a human rib cage, and <w>sporting a microphone like a technological prosthesis. <w>This louche figure reflect<w>s the artist's commitment to acknowledging those on the margins of discourse and visibility.</w></w></w></w></w></w></w></w></w></w></w></w></w></p>

<p><strong>Nile Koetting (b. 1989, Japan)<br />Presented by&nbsp;</strong><w style="background-color: initial;"><a href="https://www.artbasel.com/catalog/gallery/35857/Parliament">Parliament</a><strong>, Paris<br /></strong></w>The post-internet generation of the 2010s<w style="background-color: initial;">  – raised on Web 2.0<w>  – has grown up. This cohort has developed a visual vocabulary exploring daily media and technology<w>,  like a<w>n&nbsp;<w></w>ever-shifting digital orbit. <w>But its belie<w>f in <w>a connected future, one beyond physical borders and inequalitie<w>s, has been  shaken <w><w>in  recent years: T</w></w>he climate emergency, global pandemics, <w>and <w>geopolitical conflicts <w>have brought back a </w></w>fallible and fragile<w>  perception of humanity. Koetting adapts and adds nuance&nbsp;<w>to this heritage through installations, often activated via performance. <w>Rather than proning an escape into the Cloud, <w>they emphasize life within a confused reality, where basic survival is not guaranteed (<w>despite people being surrounded by myriad gadgets  intended to reduce daily anxieties). <w>He draws from his training in <w>Japanese Butoh theater <w>to map out&nbsp;<w>choreographies that introduce <w>a  sense of imminent dystopia. <em>Upcoming Events</em>, his Paris+ par Art Basel booth,<em>&nbsp;</em>is a prime example: a theater stage, barely-there lighting, video sculptures, transformable seats<w>, and 3D<w>-printed ikebana<w>  arrangements showcase a programed unpredictability.</w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></w></p>

<p><strong>Yong Xiang Li (b. 1991, China)<br /></strong><strong style="background-color: initial;">Presented by&nbsp;</strong><w style="background-color: initial;"><a href="https://www.artbasel.com/catalog/gallery/2002/Antenna-Space">Antenna Space</a><strong>, Shanghai<br /></strong></w>In the Chinese artist's most recent installation, each work is arranged in an octagon shape, the painted side facing outward. To identify the<w style="background-color: initial;"> work's motif <w>in its entirety, one must circle the three-dimensional <w>objects<w>.&nbsp;<w><w>S</w></w></w>tructured like furniture <w>– a seat, a shelf, a screen<w>  – <w>Li's works&nbsp;<w>can often be </w></w>fold<w>ed into different functional <w>configurations.&nbsp;</w></w></w></w></w></w></w>The artist appeals to our gaze's potential to project and perceive sensuality, the staging introducing an alternative queer sensibility. While his seats evoke a stylized bamboo garden, the largest structures (which hide and highlight at the same time) create representative ambiguity. In one structure, the profile of a mischievous face is hidden in the lower corner; in another, a young man playing <w style="background-color: initial;">nonchalantly with a <w>cat shifts his gaze to catch that of the viewer/voyeur. An infinite game of hide-and-seek, what is represented <w>feels increasingly evasive the longer it<w><w>is visible. There’s an awareness of the danger of objectification&hellip; all the while lending itself to the erotic potential of the game.</w></w></w></w></w></p>
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<p>Groupe Galeries Lafayette is the Official Partner of the Galeries Émergentes sector.</p><p>Find an overview of all participating artists and galleries&nbsp;<a href="https://parisplus.artbasel.com/galleries#85600">here</a>.</p><p>Ingrid Luquet-Gad is an art critic and PhD candidate based in Paris. She is the arts editor of <em style="background-color: initial;">Les</em> <em style="background-color: initial;">Inrockuptibles</em>, a contributing editor at <em style="background-color: initial;">Spike </em>art magazine<em style="background-color: initial;">,</em> and a journalist for <em style="background-color: initial;">Flash Art</em><em style="background-color: initial;">.</em></p><p><em style="background-color: initial;"></em>Translation by Sarah Moroz.</p>

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