Different Hours, 1990
Ink on paper, a series of 5 works (137.5 x 192.6 cm) in 2 rows
Maurice Verbaet Gallery (Stand D19)
Jan Fabre (born 1958) is set apart by an approach to art that laughs in the face of borders and constraints. This Antwerp-based multi-disciplinary artist, who has made a name for himself as a visual artist, playwright and theatre director, exhibits his work all over the world. Fabre is fascinated by the body, animals and a scientific approach to the animal and plant kingdom - just some of the elements that inspire an artistic process which is the subject of constant reflection. His series Different Hours is evocative of the famous Rorschach test, both because of the medium used (ink) and the symmetrical shapes portrayed. The artist’s reputation has opened the doors to several prestigious cultural institutions that have invited him to engage in a dialogue with their collections (Carte blanche at the Louvre in 2008 - Palais des Beaux-Arts de Lille, 2013 - Musées royaux des Beaux-Arts de Belgique, 2018).
Lost Tuileries Palace, 2020
In situ installation
Bogéna Galerie (Stand C22)
Juan Garaïzabal was born in Madrid in 1971 and grew up during a period of transformation in Spain. Aware of the need to remember the fragile nature of individual freedoms, Garaïzabal finds inspiration in the historical importance of places and how they change.
Expressing himself in light and metal, he reinvents disappeared architectures and, in so doing, fills empty urban spaces with monumental works that convey notions of tolerance and respect. Garaïzabal has gained international recognition thanks to these “Urban Memories”, life-size sculptures placed in the former location of monuments and buildings that pay tribute to their long-lost beauty.
During Art Paris 2020, the artist is presenting a study of the Palais des Tuileries. Its muted metal lines and cast shadows delicately evoke the beauty and imposing presence of the façade of this palace that is no more.
Juan Garaïzabal is a versatile artist whose multi-facetted production encompasses a wide variety of disciplines: drawing, sculpture, light and sound installations, video art and engraving. He works in several studios worldwide (Berlin, Madrid, Miami).
1. Machine of Entangling Landscapes VIII, 2019
gouache and watercolour on paper, 152,5 x 237 cm
2. Telepath I, 2013
gouache and gel pen on paper, 215 x 140 cm
3. The Holy Family III, 2014
gouache on paper, 120 x 160 cm
4. Sans Titre, 2007
gouache on paper, 120 x 320 cm
Galerie Jeanne Bucher Jaeger (stand F11)
Rui Moreira (born Porto, 1971) is a worthy successor to the Portuguese navigators of the past. His work is based on his travels to destinations far and near, which are carefully chosen so that he can experience first hand the physical and psychological changes that are inherent to the places he visits, from the oppressive heat of the Moroccan desert and the icy mountain temperatures at the source of the Ganges, to the humidity of the Amazon jungle or the ancient Caretos rituals at Podence carnival in Northern Portugal. On his return, Moreira draws non-stop in a sort of mnemonic exercise, reliving the natural cycle of each location and feeling every subtle detail. His works are born from the repetition of a simple action: in what is akin to an intense state of meditation, the artist patiently explores his memories, slowly and tirelessly filling each contour until he is overwhelmed by exhaustion due to subjecting his body to such a long period of immobility. Rui Moreira's works take different forms, often a cosmography composed of geometric abstractions, organic landscapes reminiscent of the structure of living organisms, or gods emerging from a mythological landscape. The gallery has represented Rui Moreira since 2008, accompanying him in his many exhibitions in international cultural institutions: Mudam Luxembourg (2014), Museu de Lisboa (2016), International Centre for the Arts José de Guimarães (2017), Fosun Foundation, Shanghai (2018) and the Berardo Foundation in Lisbon (2019).
Double Ends, 2011
218 x 218 cm
The Directions, 2002
218 x 218 cm
The Palm Reader-Happy New Year, 1993-96
198 x 198 cm, sequins on canvas
Gallery Simon (Stand D1)
Represented by Gallery Simon in Seoul, Noh, Sang-Kyoon (b.1958, Korea) has used
shiny sequins on his works for almost 28 years. The result of the time consuming and painstaking process of pasting vulgar sequins on canvas and sculptures (Buddha,Jesus, mannequin, and etc.) creates many forms of art ; Abstract art, Minimal art, Pop art, Optical art, and etc. What he actually expresses beyond many series of these formal works are incessant questions on human delusion, directions, perception,vanity, and eternity through his philosophical macrocosmic and microcosmic view,however, his main concerns on his transcendental works are ultimately based on symphathy and metaphors for the unpredictable lives and cultures of contemporary human beings on these ever-changing universal conditions.
Noh received his Bachelor’s degree in Painting from Seoul National University, Korea
and Master’s degree in Painting at Pratt Institute, New York. He represented Korea at the 49th Venice Biennale in 1999 and received the Artist of the Year 2000 at the
National Museum of Modern and Contemporary Art in Korea. His works have been
exhibited in ZKM in Germany, Seville Biennale in Spain, National Museum of
Contemporary Art in Korea, and for solo exhibition at galleries in New York, Seoul,
and other cities around the world.