POLLY APFELBAUM
ALICE ATTIE
HERBERT BRANDL
HELMUT FEDERLE
BERNARD FRIZE
KATHARINA GROSSE
SHEILA HICKS
IMI KNOEBEL
DANIEL KNORR
CAITLIN LONEGAN
NATASZA NIEDZIÓŁKA
KARIN SANDER
ADRIAN SCHIESS
JESSICA STOCKHOLDER
JONGSUK YOON

Sheila Hicks

Untitled, 2022
synthetic fibers, cotton, linen, wool, wood
dm 103 cm (40 1/2 in.), depth 12 cm (4 3/4 in.)

Sheila Hicks

Untitled, 2022
synthetic fibers, cotton, linen, wool, wood
dm 103 cm (40 1/2 in.), depth 13 cm (5 1/8 in.)

Sheila Hicks

Untiled, 2022
synthetic fibers, cotton, linen, wool, wood
dm 34 cm (13 3/8 in.), depth 10 cm (4 in.)

Bernard Frize

Jalan, 2007
acrylic and resin on canvas
170 x 170 cm (67 x 67 in.)

Helmut Federle

Blume und Baum, 2022
acrylic on canvas
70 x 90 cm (27 1/2 x 35 1/2 in.)

Katharina Grosse

Untitled, 2022
acrylic on canvas
201 x 155 cm (79 x 61 in.), framed 204 x 158 cm (80 x 62 in.)

Katharina Grosse

Untitled, 2022
water color on paper
101,2 x 66,6 cm (39 7/8 x 26 1/4 in.), framed 115,5 x 81 cm (45 1/2 x 31 7/8 in.)

Daniel Knorr

Canvas Sculptures, Golden Summer Whirlwind, 2022
pigmented polyurethane, UV resistant, gold leaf
153 x 131 x 29 cm (60 1/4 x 51 5/8 x 11 3/4 in.)

Daniel Knorr

Canvas Sculptures, Mark Summer Swirl, 2022
pigmented polyurethane, UV resistant
160 x 150 x 24 cm (63 x 59 x 9 1/2 in.)

Herbert Brandl

Untitled, 2022
acrylic on canvas
220 x 170 cm (86 x 67 in.)

Herbert Brandl

Untitled, 2022
acrylic on canvas
dm 100 cm (39 3/8 in.)

Jongsuk Yoon

Pink Mountain, 2022
oil on canvas
205 x 335 cm (80 3/4 x 132 in.)

Jongsuk Yoon

Over The Mountain, 2022
oil on canvas
170 x 140 cm (66 7/8 x 55 1/8 in.)

Alice Attie

Kneading Pink, 2022
acrylic, gouache on canvas
56 x 56 cm (22 x 22 in.)

Caitlin Lonegan

Untitled, 2016
oil, metallic oil, iridescent oil on canvas
180 x 155 cm (71 x 61 in.)

Polly Apfelbaum

Barn Face (Red Nose), 2020
terracotta, glaze
dm 56 x 2,4 cm (dm 22 x 1 in.)

Karin Sander

Glass Piece 116, 2022
glass
15 x 12 x 10 cm (6 x 4 3/4 x 4 in.)

KABINETT


NATASZA NIEDZIÓŁKA
Letter to You

“If you go away as I know you must. There′ll be nothing left in the world to trust. Just an empty room full of empty space“: These lyrics are from the classic melancholic song “If you go away” by Jacques Brel, which Shirley Bassey covered with haunting intensity and subtle strength.

 

If you go away is also the title of one of the five works Natasza Niedziółka has selected for her presentation in the Kabinett section of Art Basel. Textual, musical, and geographical references form the starting point for works that oscillate between painting, drawing, and textile art and transform the canvas into a picture support for her abstract stitching. Niedziółka has carefully planned all of the pieces, which belong to different series, according to their format, color, thread, and stitching technique, ensuring that they suit each other.

 

You always said is the central work in the presentation. Together with If you go away, it belongs to Niedziółka’s Love Notes series. According to Vanessa Joan Müller, these works are about “writing, calligraphy, and perhaps also the deep emotion of love, which can be found somewhere on the margins or between the lines […] potentially reminding us of how illegible the handwriting of some people can be, or of abstract pictographic signs that no longer follow a lexical code, but rather present the essence of writing in a pure form. […] More of an abstract syllabic form of writing than a fictional alphabet, they transcribe what is not palpable and not nameable into a sensuous texture of thread and canvas.”

 

Whereas the small work If you go away picks up bits and pieces of language – a couple of sentences heard in passing from the song of the same name – and renders these in coral and green colored thread, in You always said, Niedziółka has translated an entire written work onto the canvas for the first time. In this historic document from Korea from 1586, which has inspired the name of the presentation Letter to You, a young widow expresses her deep emotions to her recently deceased husband in a farewell letter that was buried with him. Against the yellow hues of the thread and the grey of the canvas, she weaves calligraphic passages of the letter with hand-written characters in warm red tones. We are tempted to try to decipher these, to follow them. Years, letters of the alphabet, and fragments of words may be visible, yet they defy legibility, revealing pieces of a story that cannot be grasped in its entirety.

 

Around these two works, Niedziółka groups two other works that are from her Zero series along with the large individual work Dorsoduro, which is named after a neighborhood in Venice. The image of this city, which has been written about countless times and is characterized by many different associations and clichés, is juxtaposed with Niedziółka’s own impressions and memories of moments experienced there.

 

If the Kabinett at Art Basel is an “empty room full of empty space,” then Niedziółka fills this space by creating a small cosmos through works that are powerful and strong and tell of vulnerability, honesty, insecurity, and – most of all – universal beauty.

Natasza Niedziółka

Dorsoduro, 2021-2022
vintage silk thread on vintage French hemp fabric
100 x 300 cm (39 3/8 x 118 in.)

Natasza Niedziółka

Zero1500, 2022
cotton, vintage silk thread, colored pencil on linen
171 x 148 cm (68 x 58 in.)

Natasza Niedziółka

Love Note. If you go away., 2021-2022
cotton, vintage silk thread on linen
46 x 58 cm (18 x 22 3/4 in.)

Natasza Niedziółka

Love Note. You always said., 2022
vintage silk thread on linen
85 x 130 cm (33 x 51 in.)

Natasza Niedziółka

Zero1740, 2022
cotton thread on linen
103 x 55 cm (41 x 21 1/2 in.)

---design and development by christian mueller---