Curated by Samuel Leuenberger, the 2018 Parcours edition will once again turn the picturesque historic center of Basel into the iconic cathedral of the city with 23 site-specific artistic interventions by internationally renowned and up-and-coming artists.

Our museums Barfuesserkirche and Haus zum Kirschgarten are part of this year's Art Basel Parcours. Four extraordinary artists present their works of art from 11 to 17 June 2018:

CAROLINE MESQUITA – Barfuesserkirche, choir
MARINA PINSKY – Haus zum Kirschgarten, vaulted cellar
PALOMA VARGA WEISZ – Haus zum Kirschgarten, pavilion
SIMON DENNY – Haus zum Kirschgarten, attic floor

Immerse yourself into the world of artists and visit our museums Barfuesserkirche and Haus zum Kirschgarten on the following dates:

Monday11 June 20181 pm–8 pm  
Tuesday–Friday12–15 June 201810 am–8 pm*
Saturday16 June 201810 am–12 am
Sunday17 June 201810 am–7 pm

*On Wednesday, June 13, 2018, the museum Haus zum Kirschgarten closes at 6 pm!

During Art Basel Parcours, enjoy free admission at Haus zum Kirschgarten and Barfüsserkirche.

Find a first insight here:

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Caroline Mesquita’s site-specific installation takes place in the Barfüsserkirche – Basel Historical Museum.

In conjunction with her new video work The Machine Room, anthropomorphic life-size sculptures are shown merging with the antique sculptures of the church. In many of her sculptural installations and flat metal works, Mesquita explores the vitality and complexity of group behavior.

Raw material provides the spark that animates her engagement with notions of religion, transformation, sensuality, and sociability. Mesquita’s works are darkened, patinated, and roughly textured through an oxidation process. Using this technique, Mesquita manipulates metal as if it were a form of painting. What was once shiny, reflective, and glossy is cut, grinded, welded, melted, and oxidized to reveal the many elements within. Textures and tones shift to become matte, green, brown, and pink. These material transformations provide her with a format for storytelling and an allegory for human experience and relationships.

Foto: Courtesy the artist and the gallery (carlier gebauer)

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As we reach a new era of centralization of the internet, an alternate web based on the digital currency Bitcoin and its transaction ledger blockchain is being imagined and built. Entrepreneurs, engineers, and marketers talk of a new ‘decentralized’ web where centralized platform giants will be superseded. Claims of an alternatively architected system where users can monetize their own data is being seen as an exciting breakthrough in the technology sector.

Simon Denny’s new artworks unpack these narratives imagining centralized vs decentralized networks, using imagery and rhetoric from crypto Twitter feeds, Medium think-pieces, Reddit fan art, and various company websites. These relics are then overprinted digitally onto found game-board editions of the Milton Bradley classic The Game of Life.

A contemporary gaming and miniatures store called the ‘Fantastic Workshop’ stands in contrast to the existing antique game section of the Basel Historical Museum, highlighting the way gaming has framed and reflected politics, technology, and culture in different eras.

Foto: Courtesy the artist and the galleries (Petzel, Buchholz)

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Paloma Varga Weisz’s installation in the intimate space of the Haus zum Kirschgarten pavilion centres on a simple wooden cabinet. Echoing the miniature design of the building itself, this is a contained unit, and houses an array of crafted and found objects.

These allude variously to folklore, religious iconography, and the dissonant objects of surrealism, while evoking the tradition of the Wunderkammer – the ‘cabinet of curiosities’ – that became a dominant mode of collecting in the Renaissance. The Wunderkammer can also be seen as the precursors to modern museums, marking out the evolution of science and categorical thought.

Ambivalent in their relation to each other, Varga Weisz’s objects express a myriad of emotional registers – childlike anthropomorphism, the tranquillity of archaic statuaries, cartoonish wit, or a note of melancholy. Varga Weisz works in sculpture, painting, and drawing to explore themes of memory, mortality, and the tragicomic. Having trained as a woodcarver in Bavaria, she has continued to develop this technique, tapping into its rich iconographic history.

Foto: Courtesy the artist and the galleries (Sadie Coles HQ, Pedro Cera, Konrad Fischer, Gladstone)

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Marina Pinsky’s installation places two series of sculptural works alongside artifacts from the Haus zum Kirschgarten collection.

One series of foam blocks, resembling layered topographies, have cast aluminum weapons embedded into their surfaces. These are modeled after knives and other objects seized by the Transportation Security Administration (TSA) at airport security checkpoints in the United States, as pictured on their official Instagram account.

The other is a set of meat stand sculptures, originally conceived for the Vleeshaal, a gothic-style building in the Netherlands which functioned at once as town hall and meat market in the early development of market societies in Europe.

Set in the basement of the Haus zum Kirschgarten, her works stand in contrast with the elaborate metalwork and porcelain of the collection displayed in vitrines.

Pinsky engages audiences in a dialogue of past, present, and future, highlighting how economies, trade, and cultural identities have evolved over time.

Foto: Courtesy the artist and the gallery (303 Gallery, Clearing)

Further information about the Öffnet externen Link in neuem FensterArt Basel Organization and Öffnet externen Link in neuem FensterParcours Night.

The Basel Historical Museum reserves the right to take and publish photographs of the event.