Art Paris Art Fair 2015

Author: ArtGuideEast
Published on: 22.03.2015

From 26th to 29th March 2015, Art Paris Art Fair brings together 145 galleries from some 20 countries at the Grand Palais. Headed by Guillaume Piens since 2012, the fair focusses on discovery and presents a wide panorama of modern and contemporary art. Art Paris Art Fair also shows design, photography and art books. The fair has undergone a profound renewal with some 50 % newcomers and galleries from abroad. Since 2012, a rigorous selection process and a multidisciplinary, dynamic approach to contemporary creation have resulted in a constant rise in the number of visitors to the fair.


With a strong international focus, the fair has positioned itself as a pioneer in the exploration of regions of the world whose artistic creation is seldom, if ever, shown in France. Art Paris Art Fair looks at a different geography of the art world that takes visitors off the beaten track to places like Casablanca, Zürich, Moscow, Bucharest or Singapore.

CEE galleries @ ART PARIS :
Kálmán Makláry Fine Arts (HU),
Duplex (BiH,FRA),
Allegra Nomad Gallery (RO),
VS Unio (RU)
Nadja Brykina Gallery (CH)


After Russia and China, Singapore and Southeast Asia are guests of honour for the 2015 edition. This platform is directed by Iola Lenzi, a curator, researcher and Southeast Asia specialist who curated the exhibition “The Roving Eye: Contemporary Art from Southeast Asia,” shown at the ARTER Foundation in Istanbul (September 2014 to January 2015). Eight Singapore-based galleries including Art Plural Gallery, STPI, Chan Hampe Galleries, Element Art Space, Yeo Workshop, iPreciation, Intersections and Sundaram Tagore Gallery will demonstrate the diversity of talent from Cambodia, Burma, Malaysia, Indonesia, the Philippines, Singapore, Vietnam and Thailand. A pro- gramme of talks and video screenings will complement this presentation of what is a little known but booming art scene.

The general sector will also include a number of galleries and artists from Southeast Asia Including Burma’s Aung Ko at Primo Marella, Vietnam’s Dinh Q. Le and Bui Cong Khanh at 10 Chancery Lane Gallery, and from the Philippines, Manuel Ocampo at Nathalie Obadia and Alfredo & Isabel Aquilizan at Hélène Bailly.

This year’s general sector has undergone deep changes with the arrival of modern art galleries such as Boisserée (Cologne), Luca Tommasi (Milan), Galerie Maeght(Paris), as well as others dealing in contemporary work such as Plutschow and Andrés Thalmann from Zürich, Flowers from London, Re- nate Bender and Tanit from Munich, Maria Lund from Paris and Istanbul’s Sanatorium and Krampf Gallery.

 Another novelty in 2015 is the record number of 35 solo shows: Atelier Van Lieshout (Carpenters Workshop Gallery), Thomas Agrinier (Galerie Estace) Henni Alftan (Galerie Claire Gastaud), Nicolas Alquin (Galerie Koralewski), NilufarBanisadr (55Bellechasse), Ruedi Bechtler (Galerie Ziegler), Fouad Bellamine (Galerie Frédéric Moisan) Léa Bénétou (Galerie Des Petits Carreaux), François Calvat (Galerie Pascal Vanhoecke),Aldo Chaparro (Spazio Nuovo), Paz Corona (Les Filles du Calvaire), Stéphane Crasneanscki (Ilan Engel Gal- lery), Gérard Fromanger (Galerie Caroline Smulders), Francesca Gagliardi (Galerie Géraldine Banier), Shaun Gladwell (Analix Forever), Herbert Hamak (Tanit), Ren Hang (Galerie Nicolas Hugo), Patrick Hughes (Flowers Gallery), Thomas Jorion (Galerie Insula), Hur Kyung-Ae (Kálmán Makláry Fine Arts), Jane Lee (Sundaram Tagore Gallery), Frank Maier (Ambacher Contemporary), Renato Mambor (Pierre Alain Challier), Yassine Mekhnache (Krampf Gallery), Mohamed Melehi (Loft Art Gallery), Ivan Messac (Galerie Baudoin Lebon), Radenko Milak (Duplex 100m2 & l’Agence à Paris),Paul Neagu (Allegra Nomad Gallery), Dawn Ng (Chan Hampe Gallery), Jean-Pierre Pincemin (Galerie Jacques Elbaz), Jean-Pierre Ruel (Galerie Espaces 54) Julio Rondo (Galerie Andreas Binder), Lyndi Sales (Galerie Maria Lund), Sam Szafran (Galerie Claude Bernard), Swoon (Galerie L.J.).


The Promises section, successfully introduced in 2013 as a way of promoting the discovery of new international talents, this year includes 12 galleries that are under five years old and are taking part in the fair for the first time. This is Art Paris Art Fair’s specific effort to help young French and international galleries become better known and reveal new talents. They include Podbielski (Berlin), Christopher Gerber (Lausanne), Heinzer Reszler (Lausanne), Jo van de Loo (Münich), TJ Boulting (London), Galerie ArchiRAAR (Brussels) and Rivière / Faiveley (Paris).

The ArtDesign section explores the relationship between design and contemporary art. Now in its fourth year, it brings together carefully selected galleries presenting unique or very limited edition pieces produced by contem- porary talents. JournalistÉlodie Palasse Leroux, design columnist, curator (50 Years of Singapore Design), founder of Sleek Design, is overseeing the 2015 selection that includes Nec Nilsson et Chiglien, School Gallery/ Olivier Castaing and Armel Soyer. In addition, Carpenters Workshop gallery in the general sector is taking part in the fair for the first time.

Art Books – Librairie L’Écume des pages : Art Paris Art Fair presents the section for art and artists’ books in cooperation with both the art and coffee table books section of French National Union of Publishers (SNE) presided by Pascale Le Thorel, and L’Écume des pages bookshop. Every hour for the duration of the fair, artists, authors and art historians will meet the public and sign their books. Special attention is devoted to the set design of the bookshop: signing room and presentation of artists’ works.


The “Springtime in Paris” VIP programme highlights the outstanding revival of the Parisian art scene, the new venues such as the “Appartement,” the Louis Vuitton Foundation with its inaugural exhibition The Keys of a Passion, the Jérôme Seydoux-Pathé Foundation and the Philharmonie de Paris. Also on show is the exhibition Pierre Bonnard at the Musée d’Orsay, Taryn Simon at the Jeu de Paume, Pieter Hugo at the Henri Cartier-Bresson Foundation, Carmen Perrin at the Maison de l’Amérique Latine, Mathieu Briand and Jé- rôme Zonder at La Maison Rouge, Mark Lewis at Le Bal.

In March 2015 the art scenes of Singapore and Southeast Asia will have pride of place in the French capital with an exceptional series of events in key locations: at the Palais de Tokyo, the exhibition entitled Secret Archipelago (from 27th March to 18th May 2015) explores the regional art scene with Sin- gapore as a springboard.


Hungary at the 56th Venice Biennale of Art

Interview with artist Szilárd Cseke and curator Kinga German


Author: Tina Kaplár
Published on: 16.02.2015

Hungary has been exhibiting at the Venice Biennale since its beginning being among the first four nations having its own pavilion in the Giardini. For the 56th International Art Exhibition the chief curator of the Biennale, Okwui Enwezor, with the title All the Worlds’ Future!  invited participating artists to explore the theme of possible world’s futures. Hungary will be represented by the site specific interactive project entitled Sustainable Identities by artist Szilárd Cseke and curator Kinga German that draws attention to the limits, the interdependency and the determined nature of the ego and various directions of thoughts. In our interview we asked artist the artist-curator duo about the exhibition, the preparation process till May and about all the necessary background information.

Kinga German curator and Szilárd Cseke artist, photo: Gyula Czimbal

Tina KaplárThe winning project for the exhibition in the Hungarian Pavilion at the Venice Biennale was revealed at the end of last December: it was by your artist-curator duo! Congratulations! Can this participation be regarded for both of you as a peak of your career?

Szilárd Cseke: Definitely. Participating in an art event of such a tradition and exhibiting in front of a professional audience of such expertise as that of the biennale is a great honour for me.

Kinga German: It certainly is, but from another point of view it can also be regarded as a new task in my life that has to be done well. I have never been career-focused and I believe in teamwork even if I have of course my own concrete visions and ideas and I like to oversee the processes.

Before we start talking about the exhibition, its curatorial concept and its preparations I would like both of you to talk about the so-called milestones in your professional development so far….

SzCs:  The changing focus of the Ani Molnár Gallery meant important inspiration to me. As the gallery was becoming more and more opened towards a wide range of media and the opportunities to exhibit mobile objects in front of international audience were expanding, I was motivated to turn to unusual materials and experiment with new techniques. I would also mention the solo exhibition with my mobile objects in the Museum Kiscell, as I definitely consider it a milestone in my career. Also, the site-specific installation that I designed, as part of the Park Gallery project, for a public space in the MOM Park with the title of ‘The Illusion of Progress’ meant a creative boost as well.

KG: The first milestone for me was when I was appointed to write for the cultural column for a daily newspaper with a circulation of 45 000 and the native German colleagues gave a very positive feedback on my creative use of the German language. Another significant experience was when during my cultural management course at the university I could learn from Kartsen Greve and Werner Heinrichs and I could be part of the empirical research led by professor Hans Joachim Klein among the residents of Karlsruhe about the possible acceptance of housing zkm, Museum für Neue Kunst and HfG in a former arms factory, where forced labourers worked during the Third Reich.

Another major milestone was when I got into the Hungarian higher education system and saw all the discrepancies to which I could actively and progressively react, gently shaping the cultural scene and the reception of the contemporary culture, while I could still remain free in this environment. In 2005 the instruction of contemporary art was on very weak legs, and as I came from the Basel-Strasbourg-Stuttgart-Frankfurt region I had much to speak about. Having witnessed the concert performance of Nam June Paik and the Einstürzende Neubauten in Donaueschingen it was easier to express for my students the significance of video art and its impact. I also worked a lot with my students in the field of art mediation that was back then an abandoned territory for art historians.

And maybe the last one was in the autumn of 2013 when I presented my paper at a large conference of medieval art (Forum Kunst des Mittelaters) and the results of my micro architectural research were published by the significant publishing house Imhof.

Szilard Cseke, Sustainable Identities, detail of the installation model, courtesy: Brigitta Nachtmann

A genuine difference of opinion between the professionals was moulded because unlike in its history this year a commissioner of political importance was appointed with no professional background. Part of the art scene boycotted the application itself. What was the decisive factor under these circumstances for you to hand in the application?

KG: The major reason was the authenticity of the jury, we handed in the project proposal after the members of the jury had been made public. At that point we were hoping for more applicants.The other important convincing factor was the fact that the appointed commissioner could not decide in content-related questions and could not vote when the professional jury made its decision. She has to handle coordinative tasks. The third justification was that the internationally underrepresented Hungarian contemporary art scene can not afford the luxury of missing an international opportunity of exposure. I am pretty sure that it would have had a very negative impact on the contemporary art scene of Hungary when let’s imagine Okwui Enwezor with all the representatives of the global art scene along with the cultural tourists encounter with some “DIY art” in the Hungarian Pavilion.…

SzCs: What truly matters I suppose is the composition of the jury. Therefore, when I could see that the selection of the members included professional experts, I made the decision to go for the opportunity. I really appreciate the work of many members in the jury and believe that their competence equals to that of the previous years.  In addition, the supervision and assistance in the preparation process from the side of the Ludwig Museum – Museum of Contemporary Art, Budapest also guarantees professionalism.