Art Basel Paris
16/10 – 20/10/2024
Grand Palais, Paris
Nave, ground floor, B7

Francis Alÿs, Andrea Büttner, stanley brouwn, Manon de Boer, Lili Dujourie, Mario Garcia Torres, David Lamelas, Paul Thek, Philippe Thomas, Ian Wilson

Jan Mot’s booth at Art Basel Paris places historically significant art works in dialogue with recent works. These transhistorical conversations generate new meanings and interpretations, casting the gallery's internationally recognized artists in unexpected light.

A large part of Jan Mot’s booth is devoted to four works by stanley brouwn, which he realized for his solo exhibition at the Villa Arson, Nice, in 1995. In 2023–24, brouwn was the focus of a large-scale retrospective exhibition that travelled to the Art Institute of Chicago, the Hammer Museum, Los Angeles, and Stedelijk Museum, Amsterdam.

Mario Garcia Torres is represented by two works that refer to Alighiero Boetti (1940–1994). Part homage, part reflection on the afterlives of conceptual art, Garcia Torres institutes a fruitful dialogue between the late Italian artist's work and his own.

Discourse and communication are at the heart of the practices of David Lamelas, Philippe Thomas and Ian Wilson. At Art Basel Paris, Jan Mot presents Lamelas’ project The Hand, a portrayal of the ways in which information is manipulated by the media. Thomas’s agency readymades belong to everyone® is built on the interaction between the collector and the artist, whose place she or he is invited to take over, thereby becoming “part of art history”. In another dialogic vein, Wilson’s discussions are epitomes of conceptual art’s privileging of language over visuality. A certificate of an early discussion is included in Jan Mot’s selection for Art Basel Paris.

Of Francis Alÿs' work, Jan Mot will present a painting featuring a child walking down a street in Lubumbashi. The work is part of Alÿs' ongoing interest in documenting the ways in which children inject play and imagination in their immediate contexts, regardless of the uncertainty and violence that may surround them.

For Lili Dujourie, what at first appears to be formal explorations reveal themselves to be intimately connected to the body. In her clay sculptures Memories of Hands, what is memorialized is the work of the artist, the physical engagement with materials. Andrea Büttner is equally attentive to gestures and bodies often erased from art history and the process of art making. In particular, Büttner’s use of wood block printing allows her to emphasize the manual and organic quality of the prints.