<p>Art Basel’s editorial team shares its top tips from Miami to Berlin<br></p>

Editors’ picks: Seven shows to see in December

<p>Every six weeks, members of Art Basel’s Editorial team pick their favorite exhibitions across the globe.&nbsp;Here are seven shows not to miss this December.</p>

<p><strong>Group show<br>
‘I remember you well in the Chelsea Hotel…’<br>
Fleiss-Vallois, New York City<br>
Until December 23, 2023</strong></p>
<p>As the years pass, New York’s Chelsea Hotel remains an immutable witness to the bohemian generations that once nurtured its legend. Though the scent of oil paint has dissipated, taking with it a hint of cigarette smoke, the corridors still echo with the murmurs of the artists who once called it home. As for their works, emblems of unbridled eccentricity, they had awaited a reunion to showcase them beyond the sanctuary's walls, until now. ‘I remember you well in the Chelsea Hotel...’ at Fleiss-Vallois brings together over 30 international artists. With works by Ching Ho Cheng, <a href="https://www.artbasel.com/catalog/artist/27553/Annette-Lemieux" target="_blank">Annette Lemieux</a>, <a href="https://www.artbasel.com/catalog/artist/8277/Martial-Raysse" target="_blank">Martial Raysse</a>, <a href="https://www.artbasel.com/catalog/artist/7047/Claes-Oldenburg" target="_blank">Claes Oldenburg</a>, and <a href="https://www.artbasel.com/catalog/artist/7931/Daniel-Spoerri" target="_blank">Daniel Spoerri</a>, the exhibition celebrates with nostalgia those who shaped the unique character of this spirited place. T.D.</p>

<p><strong>Yaerim Ryu</strong><br>
<strong>‘You and Your Sweating Palms’</strong><br>
<strong><a href="https://www.artbasel.com/catalog/gallery/1247/Peres-Projects" target="_blank">Peres Projects</a>, Berlin</strong><br>
<strong>Until January 6, 2024</strong></p>
<p>Korean artist Yaerim Ryu invites viewers to observe an unknown community, rendered in her comical yet eerie visual language. Her work begins with stock images as references for figures, houses, and objects. Ryu is also interested in language and its narrative power, as evidenced by her cryptic titling. The works in this show were all created in Berlin over the last 6 months and many reflect the city’s characteristically dreary climate. Each pays particular attention to atmospheric elements such as weather, wind, and temperature, evident in the droplets of sweat, rain, and the subdued hues that create a distinctive aesthetic ambiance. A.R. </p>

<p><strong>Ana Karkar<br>
‘LOVECHILD’<br>
<a href="https://www.artbasel.com/catalog/gallery/1254/Almine-Rech" target="_blank">Almine Rech</a>, Brussels <br>
Until January 13, 2024</strong></p>
<p>The French-American, Paris-based artist, is making her debut with <a href="https://www.artbasel.com/catalog/gallery/1254/Almine-Rech" target="_blank">Almine Rech</a> in Brussels, presenting a new series of paintings investigating her enigmatic relationship with her father. Drawing inspiration from iconic 20th-century artistic movements, artworks, and artists such as the Vienna Secession, <a href="https://www.artbasel.com/catalog/artist/11446/Egon-Schiele" target="_blank">Egon Schiele</a>, and <a href="https://www.artbasel.com/catalog/artist/11167/Gustav-Klimt" target="_blank">Gustav Klimt</a>’s <em>The Kiss</em>, the artist guides the audience through a chromatic and symbolic journey. Primarily featuring naked bodies, either alone or in pairs, the paintings depict expressive distortions that challenge viewers to discern the precise outlines of figures engaged in sensuous movements. Drawing both from art history and her own life, Karkar paints the vivid and private memories that shaped her personal journey, sharing her experience of love and lineage. P.S.</p>

<p><strong>Guillaume Bresson<br>
<a href="https://www.artbasel.com/catalog/gallery/1237/Galerie-Nathalie-Obadia" target="_blank">Galerie Nathalie Obadia</a>, Paris<br>
Until January 13, 2024</strong></p>
<p>Guillaume Bresson's oil paintings are saturated with drama. Piercing through the darkness, bodies tumble into a somber void; athletic figures twist their limbs as they fall, wearing denim shorts, grey hoodies, or nothing at all. The French-born, New York-based artist's interest in Renaissance iconography is evident in these moody canvases, executed with a seductive technical mastery – his brushstrokes appear both light and deft, his colors muted yet pristine. Bresson's subject matter may seem dark at first, but like his 16th-century forebears – who hardly ever hesitated to depict eroticism, humor, and shade on the walls and ceilings of churches – there is an underlying campiness in these images of thighs, biceps, and deltoids meeting the pitch-dark night. K.C.</p>

<p><strong>Josèfa Ntjam<br>
‘matter gone wild’<br>
Fondation Pernod Ricard, Paris<br>
Until January 27, 2024</strong></p>
<p>In her new exhibition, Josèfa Ntjam takes us on a journey through space and time, towards insurrection. At Fondation Pernod Ricard, viewers are invited to enter physical and mental preparation cells, where rebellion is taught through videos. They then pass through a mysterious airlock, plunge into a darkened environment depicting the cosmos, and enter the heart of ‘matter gone wild’, as the exhibition is titled. In a film of the same name, the artist conjures up ancestral traditions and Afrofuturism. Guided by Persona, a storyteller of revolutionary <em>alterfuturist</em> chronicles, we are taken on a cosmogonic journey by an artist brimming with fertile ideas. J.A.</p>

<p><strong>Elizabeth Jaeger<br>
‘prey’<br>
<a href="https://www.artbasel.com/catalog/gallery/1215/Mennour" target="_blank">Mennour</a>, Paris<br>
Until February 3, 2024</strong></p>
<p>At <a href="https://www.artbasel.com/catalog/gallery/1215/Mennour" target="_blank">Mennour</a>, Elizabeth Jaeger presents her worlds in two stages. In the first room are a series of small black boxes of different scales and occurrences: a domestic scene, a prostrated bird, a fighting fish, a prison cell. In these miniature worlds, the artist suspends time by forcing concentration, as one has to get up close to see what is going on. In the next room, black and gold clay sculptures have transformed the gallery into an ecosystem resembling a soothing marsh. The reed stems are home to clay sculptures of dogs, rats, insects, slugs, and black birds; all symbols of ‘prey.’ In ‘prey’, life is everywhere, creating an ecology where all beings observe each other. J.A.</p>

<p><strong>Monster Chetwynd<br>‘Pond Life: Albertopolis and the Lily’<br>Gloucester Road Station, Art on the Underground, London<br>Until May 2024</strong></p>
<p><strong></strong>London is particularly good at art on public transport. Launched in the 1980s to fill unused advertising spaces, Art on the Underground has consistently punched above its weight – and its latest project, courtesy of Monster Chetwynd, is no exception. Located on a disused platform at Gloucester Road station, it dives into the history of the 1851 Great Exhibition, highlighting how the ribbed veins of an Amazonian waterlily inspired gardener-turned-architect Joseph Paxton’s design for the Crystal Palace’s then-revolutionary architecture. This jumble of Victorian anecdotes is articulated by a series of amphibian sculptures and a film, in which Chetwynd plays a fact-finding witch piecing together the clues history leaves in plain sight. C. M.<strong><br></strong></p>
<hr>
<p><strong></strong><br>Art Basel’s Editorial team is composed of Juliette Amoros, Tatiana Berg, Emily Butler, Karim Crippa, Jeni Fulton, Andi Harris, Alexis Laki, Coline Milliard, Alicia Reuter, Katie Rothstein, and Patrick Steffen. Art Basel’s commissioning editors are Stephanie Bailey, Kimberly Bradley, and Emily McDermott.</p>
<p>Published on June 26, 2023.</p>
<p>Caption for full-bleed image: Zenzaburo Kojima,&nbsp;<em>ビーチ・パラソール </em>(Beach Umbrellas), 1932.&nbsp;Courtesy of the artist and High Art, Paris / Arles. A dark filter was applied for readibility.</p>

title_style_2

<section><section><main><div><div><section></section><section><section><main><div><div><p>In the photograph <em>If I Ruled the World</em>, the American artist dresses up as an evil clown to denounce the violence of those in power</p>
<p></p>

</div> </div><section></section></main></section></section></div> </div><section></section></main></section></section>
<section></section>

Stories

What if Carrie Mae Weems ruled the world?

<section></section>
<section> <section><main><div><div><section></section><section> <section><main><div><div><section></section><section><section><main><div><section></section><section><section><main><div><div><section></section><section><section><main><div><div><section></section><section><section><main><div><div><section></section><section><section><main><div><div><p>On the occasion of his exhibition at Frac Sud in Marseille, the artistic director of Pina Bausch’s legendary Tanztheater Wuppertal reflects on his career<br></p>
<p></p>
<p><br></p>

<p></p></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section>
<section> <section><main><section></section></main></section></section>
<section></section>

Boris Charmatz: ‘Dance was my way into life’

<section></section>
<section> <section><main><div><div><section></section><section> <section><main><div><div><section></section><section> <section><main><div><section></section><section><section><main><div><div><section></section><section><section><main><div><section></section><section><section><main><div><div><section></section><section><section><main><div><div><section></section><section><section><main><div><div><p></p>
<p>Inspired by the web, science, and (post-)colonial history, the young artist creates speculative worlds that propose a new relationship to our own<br></p>
<p></p>

</div> </div><section></section></main></section></section></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section>
<section> <section><main><section></section></main></section></section>
<section></section>

Welcome,

DISCOVER MORE RELATED CONTENT BELOW: