In addition to the contemporary art fair -which will bring together the most outstanding galleries from around the world, organized by the same foundation with offices in Miami, Basel, Hong Kong and now also in Paris- the most emblematic venues will be added to the Paris+ program of the city -“the heart of Paris”, say the organizers-, which also includes the Place Vendôme, the Musée national Eugène-Delacroix and the Chapelle des Petits-Augustins des Beaux-Arts de Paris.
“It is a mega project, conceived as an urban interference, with the mouths of Graciela Sacco in the Tuileries Garden. No more and no less than 800 posters that we are going to paste around the entire Garden, immense, spectacular, with this work Bocanada from 1993 that Sacco made as a denouncing gesture when the public dining rooms were closing. The work is hunger, fear, a scream, but also, a work that, I think, post-pandemic was resignified since we had our mouths sealed with chinstraps ” told Télam Florencia Giordana Braun.
Graciela Sacco’s work will unfold over some 60 meters in length, wallpapered with these mouths: fourteen different (although similar) posters and about 60 prints of each one that will be arranged on this extensive three-meter-high wall , a palisade that will be inside the Garden.
“Bocanada” will be part of a set of works that will take public space by storm and that also includes works by the Venezuelan Carlos Cruz-Diez (for the Galleria Continua), by Alicja Kwade, whose work was seen on the Roof Top of the MET ( kamel mennour gallery) and another Argentine, the sculptor Alicia Penalba (1913-1982), who settled in France, whose work will be presented by the A&R Fleury gallery.
Paris+ aims to create an emblematic event that radiates throughout the city and its exceptional cultural ecosystem; In this sense, “Bocanada” -which will have the support of the Cartier Foundation and Bienalsur- was selected to represent an “urban interference” in Tuileries, as part of the exhibition named “La Suite de l’Histoire”, curated by Annabelle Ténèze , director of Les Abattoirs, Musée – Frac Occitanie Toulouse.
The exhibition examines the history of the Jardin des Tuileries in its many facets, including its political and public dimension, through the work of artists whose practices often subvert and reimagine the role of art in the public realm, in the words of curator Annabelle Teneze.
Located in a place where history, architecture and nature converge, the exhibition invites visitors to look at gardens in a new way.
“I am truly delighted with the scale and ambition of our inaugural edition of Sites, accessible to all, extending our programming throughout the city to a wide audience beyond our fair visitors,” said Clément Delépine, Director of Paris+ par ArtBasel.
The fair will also include a program of conversations with debates around contemporary art in a privileged location: the atmospheric Bal de la Marine, a ship docked next to the Eiffel Tower, where the 32 invited speakers will meet.
“We are going to intervene the language of the streets,” the Argentine gallery owner was enthusiastic about the work of the artist whose uniqueness was permanent criticism and the search for new techniques that would allow her to deepen a personal artistic language.
In 1992, Sacco was the first artist to use heliography to print images on surfaces such as spoons, suitcases or shoes, redefining everyday objects. One of his most significant works produced with this technique is “Victoria”, a large palisade made up of wooden rods found in the street, on which he printed the journalistic photo of a French May demonstration, and which he presented at the Biennial of San Pablo from 1996, from the Body to Body series.
Source: Ambito
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