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Forbes
10 hours ago
- Entertainment
- Forbes
Highlight's From Art Basel 2025
Katharina Grosse's immersive artwork on the facade of Messe Basel Basel has returned to its most vibrant rhythm: museum openings, carefully curated satellite shows, and the flow of artists, collectors, and curators moving through the Swiss city that effortlessly hosts the global art world. At the heart of it all is Art Basel 2025, where over 290 leading galleries present works by more than 4,000 artists across the halls of Messe Basel - and beyond. Here are a my personal highlights from this year's edition. Before you even enter the halls of Messe Basel, one of this year's most striking works is impossible to miss: Artist Katharina Grosse sets the tone for the week. Her new site-specific installation unfolds across Messeplatz, wrapping the square and surrounding structures in sweeping fields of colour: bold, immediate, and impossible to overlook. Curated by Natalia Grabowska (Serpentine, London) the work transforms the public space into something between architecture and atmosphere. Katharina Grosse transforms Basel's Messeplatz into an artwork Also read: Standout Installations Art Basel's Unlimited, 2025 Made from glass and aluminum and measuring 218.4 x 279.4 x 6.4 cm, the work (made in 1967) features abstract gestural markings sandblasted directly into the glass surface. Installed as a full wall between the fair's corridor and the booth interior, the piece blurs the boundary between architecture and sculpture - typical of Heizer's explorations during the 1970s. Known primarily for his monumental earthworks, Heizer's glass works are rare and reflect his ongoing engagement with scale, space, and material. Originally created in 1976, this piece offers a rare chance to see his language applied to an interior, spatial context. Michael Heizer, Sandblasted Etched Glass Window, 1976 presented by Peter Freeman Inc. at Art Basel ... More 2025 FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder Presented by Helly Nahmad Galler, Concetto spaziale (Teatrino), 65 TE 4 (1965) by Lucio Fontana is a unique and striking example from his celebrated Teatrini series. Measuring 130 x 130 cm, the work combines water paint on canvas with a lacquered wood frame, creating a theatrical, dimensional border that enhances the iconic slashed surface. These pieces mark a pivotal moment in Fontana's evolution from monochrome spatial cuts to a more architectural framing of space and void. With its vivid chromatic contrast and sculptural presence, this 1965 Teatrino underscores Fontana's role in pushing painting beyond the canvas—into a spatial experience. Lucio Fontana, Concetto spaziale (Teatrino) 65 TE 4, 1965, water paint on canvas and lacquered wood ... More (130cm x 130cm) presented by Helly Nahmad Gallery at Art Basel 2025 This week at Art Basel, visitors will find a quiet, living intervention rising in the heart of the fair: Flora Renaissance, an open-air installation conceived by landscape architect Enzo Enea, presented on the terrace of Messe Basel. The work is part of the 15-year anniversary of the Enea Tree Museum near Lake Zurich, an ongoing project that fuses landscape architecture with contemporary art. With Flora Renaissance, Enea turns his focus to the high-stem orchard—a once-iconic element of the Swiss landscape, now largely erased. Fruit trees, vegetables, perennials, and a long communal table (tavolata) are brought together in a space that invites reflection on biodiversity, cultivation, and connection. Enzo Enea at Enea's Nature Installation Flora Renaissance at Art Basel 2025 Historically, Switzerland's orchard culture spanned millions of trees; by the mid-20th century, many were lost due to political shifts and agricultural policy. Enea's installation doesn't attempt to recreate the past, but proposes a future: rooted in ecological awareness, community, and the quiet strength of trees. By bringing nature into the context of Art Basel, Flora Renaissance expands the fair's vocabulary In the Premiere sector at Art Basel 2025, Cairo-based gallery Gypsum presents Dimitra Charamandas. Charamandas' large-scale paintings and low-lying sculptural panels, such as Mineral Bonds II and Carapace (both 2025), explore the geological language of landscapes - layered, sedimentary, almost tectonic in their stillness. Working with acrylic and shellac, her textured surfaces evoke both scientific cross-sections and dreamlike terrains, drawing viewers into a suspended moment between erosion and emergence. The presentation reflects Gypsum's continued commitment to thoughtful, process-driven practices from the Global South. Dimitra Charamandas works presented by GYPSUM at Art Basel's Premier Sector At Perrotin Gallery's booth during Art Basel 2025, two works by Julian Charrière stand out for their quiet intensity and conceptual depth (Midnight Zone - 98 Fathoms, 2025 and Midnight Zone - 152 Fathoms, 2025). Both pieces are part of the Midnight Zone series, which is the name of Charrière's larger solo exhibition at Museum Tinguely (currently on view, till November 2, 2025). That's where he traces the Rhine's flow into global maritime routes and examines water as a carrier of ecological memory, movement, and consequence. Seen together, the works move between poetic and unsettling, offering a striking reflection on our entanglement with the natural world. Julian Charriere, Midnight Zone at Perrotin Booth at Art Basel 2025 Friedrich Kunath's Tonight I Will Retire (2025), shown by Galerie Max Hetzler, brings his blend of melancholy and humor into a new landscape. An oil on canvas measuring 152.5 × 122.5 cm. The painting brings together Friedrich Kunath's signature mix of idyllic landscapes and quiet unease. Set against a twilight backdrop, a solitary cute ghost appears almost out of place, an image both understated and unresolved. Kunath's work often draws from German Romanticism, West Coast pop culture, and personal memory, using these references to explore themes of distance, longing, and contradiction. The result is a mood that feels familiar but never entirely understood - one that leaves space for reflection without insisting on it. Friedrich Kunath's Tonight I Will Retire (2025), shown by Galerie Max Hetzler at Art Basel 2025 Marianne Boesky Gallery presents Black Suzy (2025) by Ghada Amer. The work, made from cotton appliqué on cotton duck and measuring 152.4 × 114.3 cm, continues Amer's practice of using embroidery as a primary medium. By working with materials traditionally associated with domestic craft, she challenges the historical marginalization of textile arts and repositions them within the context of contemporary painting. In Black Suzy, fine black thread outlines the figure of a woman in a pose that resists passive representation. Amer's work often centers on female identity and agency, subverting the conventions of the male gaze through a technique that is as political as it is aesthetic. Black Suzy, 2025 by Ghada Amer, Marianne Boeksy Gallery at Art Basel 2025 Located in Hall 1, the Art Basel Shop is open to the public (free entry) to explore a curated mix of artist editions, rare collaborations, and fair-exclusive design. Katharina Grosse debuts hand-painted soccer balls and translucent bags, while limited pieces by Kasing Lung, Sasha Stiles, Daniel Arsham, and Amoako Boafo offer something truly collectible. You'll also find playful new takes on the Art Basel logo across apparel and accessories, along with talks, signings, and in-store moments that bring you closer to the artists. Curated by Stefanie Hessler, Director of the Swiss Institute in New York, this year's Parcours places over 20 works throughout Basel's city center, including along the riverfront and in everyday public and semi-public spaces. Under the title Second Nature, the exhibition explores how we relate to repetition, interruption, and perception - blurring distinctions between the organic and the constructed. Many of the works are newly commissioned for the setting, offering a quiet yet powerful dialogue with the city. Parcours invites you to encounter art beyond the fair halls. Hylozoic Desires; Himali Singh Soin & David Soin Tappeser as part of Art Basel Parcours in Basel
BBC News
11 hours ago
- Sport
- BBC News
When is the Women's Euros 2025?
Euro 2025 is finally here, with 16 teams from across Europe ready to showdown!The 2023 Women's World Cup ended in heartbreak for England's Lionesses, losing out in the final to Spain - but will they fare better this time around? And which of the home nations has qualified for the first time? Find out all this and more with this article from Bitesize! Switzerland will be the host nation for Euro 2025, marking the first time they've played host to a major women's sporting event on this will be played right across the country, with the tournament kicking off in Thun and coming to a close at St-Jakob Park, in other host cities include St Gallen, Zurich, Lucerne, Bern, Sion and Geneva. Euro 2025 kicks off on Wednesday 2 July, as Iceland face off with Finland at the Stockhorn Arena in Thun. The game will kick off at 5pm UK time, with hosts Switzerland taking on Norway later that group stage of the tournament will continue on through to 13 July, with the quarter-finals beginning on July 16 - all leading up to the final on Sunday 27 July. 16 teams will compete for the crown of Euro 2025 champions this summer, including two of the home nations - one of them for the first time!The nations who qualified are: Iceland, Finland, Switzerland, Norway, Belgium, Italy, Spain, Portugal, Denmark, Sweden, Germany, Poland, Wales, Netherlands, France and teams will be split evenly across four groups, with the top two teams from each group advancing to the quarter-finals. Euro 2025 marks the Euros debut of the Wales women's national football team, with Rhian Wilkinson's side joining England in Group will kick off their tournament in Lucerne, taking on Netherlands on Saturday 5 July at 5pm UK time. England will begin their campaign later that day, facing off against France at 8pm UK teams will play their second match on Wednesday 9 July, with England playing Netherlands in Zurich, and Wales matching up against France in St their final group stage game, England and Wales will come face to face with one another, kicking off in St Gallen at 8pm UK time on Sunday 13 July. The first official UEFA Women's Euro took place between 1982 and 1984, with 16 teams across Europe coming together to compete for the trophy. England, Scotland, Republic of Ireland and Northern Ireland all took part - alongside nations like France, Italy and Portugal, amongst competition's first game took place on 18 August 1982, with Sweden comfortably beating out Finland in a 6-0 final took place in 1984, with England facing off against Sweden over a two-leg final. The Swedes beat England on home turf, before an England win at Kenilworth Road sent the final to a penalty unsurprisingly, England lost on penalties, with Sweden becoming the first ever Women's Euro champions! England go into the 2025 Euros as reigning champions, with the Lionesses roaring to victory over Germany in the final of Euro 2022. Chloe Kelly's goal in extra-time marked an end to over 50 years of hurt for England's men and women's national hold the record for the most number of Women's Euro titles, having won eight of the 13 that have taken place as of this year. Other winners include Sweden, Netherlands and Norway with the possibility of a further nation being added to those ranks this summer! The first Women's EurosEverything you need to know about Euro 2025Ella Powell: How my teachers helped kickstart an international football careerSix things you need to know about women's football
The Guardian
a day ago
- Entertainment
- The Guardian
Rodin's rowdy rival: Medardo Rosso, the anarchist who brought sculpture into the modern era
If you ask art dealers and auctioneers about the legacy of the turn-of-the-century sculptor Medardo Rosso, you are likely to be met with a uniform reply: 'Medardo who?' There's no judgment here. I've worked in and around the art world for 20 years, and until recently I hadn't heard of Rosso either. In artists' ateliers, however, Rosso has long been a familiar and revered name. Auguste Rodin, the father of modern sculpture, was his champion and friend until the pair's fallout. Émile Zola was a fan. The playwright Edward Albee owned a version of his sculpture Enfant Juif; French poet Guillaume Apollinaire described him as 'without a doubt the greatest living sculptor'. Rosso, a new retrospective at Kunstmuseum Basel, contends he brought sculpture into the modern era with busts and figures that seemed to materialise organically out of his materials – wax, plaster, bronze – like spectres in motion. The Swiss art institution has had no trouble finding 60 contemporary artists who feel a kinship with his sculptures, photographs and drawings, his fleeting impressions of street scenes, cafes and clouds – from Louise Bourgeois's textile sculptures that look like entrails to Francesca Woodman's wraithlike photographs. 'If you sit 10 gallerists and collectors around a table, nine out of the 10 will not know who Medardo Rosso is,' says Elena Filipovic, the director of Kunstmuseum Basel, which is holding a retrospective on this shadowy figure. 'If you sit 10 artists around the table, nine out of the 10 will fall to the floor with excitement.' There are good reasons why Rosso has fallen into relative obscurity. Some, albeit unintentionally, are Rosso's fault. For instance, his practice was neurotically self-contained. While Rodin followed the template for becoming famous, Rosso followed his own instincts. Rodin knew to create monumental works – 'size matters,' says Filipovic – and that professional marketing was key. Rosso created small-scale works, works seen in the studio, home and exhibitions but not out on the boulevards, and he liked to promote them himself. He worked, repeatedly, on a relatively small number of motifs. One of his most famous works, Ecce Puer (1906), is of a boy's head shrouded in a sheet; he's there but not there. Another, Enfant Malade (1893-95), features the inclined head of a sick child, tipping possibly towards death. We often use the term 'in the flesh' when standing in front of a sculpture, but with Rosso the phrase has a particular resonance: his faces, just that little bit smaller than in real life, with dimensions that add to a sense of unease, look as if they might blink their waxy eyelids. His sickly yellow lumps are not pretty. They're not Degas's dancers. Perhaps the most disturbing of all though is Aetas Aurea (1886), a study of his wife, Giuditta, and their son, Francesco, in which the pair look conjoined at their cheeks. They melt into the background. It's a horror movie prop rather than a loving family portrait. Other figures are drunk, leaning, screaming. His wax sculptures are the colour of nicotine stains. Born in Turin in 1858, the second son of a railway worker, Rosso opened his first atelier in Milan in 1882 and circulated with members of the artistic group Scapigliatura – translated as 'dishevelment' – a Bohemian set of a socialists and anarchists. Living up to the name, Rosso's studies in the city's esteemed Accademia di Belle Arti di Brera were cut short when he was expelled for assaulting another student. Three years later, however, he had a wife and son, and was successfully forging a career in Paris, wooing patrons and winning commissions. Rosso was definitely a 'very idiosyncratic personality, very persuasive, powerful, winning, someone with a big heart, especially for children, but also suspicious, controlling, obsessively pursuing his cause,' says Heike Eipeldauer, a curator and Rosso expert at the Mumok museum in Vienna, Austria. There were a lot of disagreements: his wife left him and one of his closest friends cut him off after an argument about debts. And then there was Rodin, who he got into a public spat with over who had influenced whom. 'They were friends, until they weren't,' says Filipovic. His intractable nature could work against him. He cast his own works – eating into his time and reducing the number of works created – while Rodin used foundries. And Rodin hired Edward Steichen and other well-known photographers to capture his works and produce portraits of him as the great master in the studio (often with a hammer and chisel, even though he never carved marble himself). Rosso's sculptures were only ever photographed by the artist himself. 'He wanted to control the image,' says Filipovic. 'He understood that photography and how you saw the work was also the work.' The exhibition features about 200 of Rosso's photographs: frail prints of sculptures, some as small as stamps, otherworldly portraits rather than iconic marketing shots. He lit and staged them, with an ethereal aesthetic that echoed the Victorian craze for spirit photography. While Rosso's photographic studies reanimate objects, his studio-set self-portraits conjure up a phantom, his scruffy features bleached by the sun through his studio's skylight, his figure blurred in movement: studies as faint and mercurial as his artistic footprint. Having spent his last two decades constantly reworking a few subjects, the artist died in 1928, aged 69. He had dropped glass negatives on his foot, resulting first in the amputation of several toes, then part of his leg and finally a fatal case of blood poisoning. A gradual erosion. Today, Rosso's complicated nature hampers research, explains his great-granddaughter, Danila Marsure Rosso, who manages the artist's estate. 'He destroyed all the letters he received because he said that nobody should enter in his private life,' she says. There are no biographies of Rosso. There are dozens of Rodin. Rosso's auction record stands at £341,000 (for a version of Enfant Juif, sold in London in 2015); Rodin's record was set in 2016, when the master's marble Eternal Springtime sold in New York for $20m (£14m). Legacies can pay dividends. But Rosso's quirks had their own creative rewards. He invited groups into his studio to watch him sculpt and cast his works, as if he were a performer. 'It was about understanding that there is magic in this making,' says Filipovic. 'Rodin couldn't do that because he used a foundry.' Another idiosyncrasy was Rosso's fondness for installing sculptures in collectors' homes in strange, jarring configurations. Context was everything, but not always logical. I can imagine him sitting uncomfortably close to guests at dinner parties just to observe their reaction. Was he a control freak? 'Certainly,' says Filipovic. 'But don't you want that in an artist?'
Reuters
a day ago
- Business
- Reuters
Art Basel shows more mid-priced art to a sombre market
BASEL, Switzerland, June 19 (Reuters) - The world's biggest art fair takes place in Switzerland this week, with global crises creating a more sombre mood, according to participants, and galleries showing less expensive works amid a slump at the top end of the art market. A fixture since 1970, Art Basel is widely viewed as a key barometer for the health of global art sales. Works by over 4,000 artists are on show, including a Pablo Picasso painting valued at over $30 million shown by U.S. gallery Pace. Global art sales fell 12% last year, the second annual decline in a row, according to a report by UBS. The drop was particularly sharp at the top end - defined as works selling at auction for over $10 million - where sales tumbled by 39%. "It's true the galleries are bringing material that is in a different price point to what it used to be," said Vincenzo de Bellis, Chief Artistic Officer and Global Director of Art Basel Fairs. "And it's natural, there's a different expectation." No artwork had sold for over $10 million as of Wednesday, according to sales confirmed by exhibitors. Last year, one piece had already fetched $16 million on the opening Tuesday. "I think the mood is very subdued," said Gaurav Madhok, a visitor from London who has been going for over 12 years. More than five gallery representatives said there were fewer American clients at stalls than in previous years. A separate UBS report showed a 4.6% jump in private individuals' wealth in 2024, with the U.S. faring especially well, creating over 1,000 new dollar millionaires daily. "We've seen a lot of European curators," said Georgia Lurie, a director of the Pippy Houldsworth gallery. "But Americans are thin on the ground, both collectors and museum people." ($1 = 0.8170 Swiss francs)
CNN
2 days ago
- Entertainment
- CNN
This artist just spray painted a public square in Switzerland
Thousands of artists are being featured at hundreds of galleries as Art Basel opens its doors in the Swiss city this week. But before visitors even enter the art fair, they will cross a large public square sprayed with white and magenta paint — an artwork by Katharina Grosse. The German artist is known for using spray paint to transform spaces, from an abandoned property in post-Hurricane Katrina New Orleans to a condemned structure in the Rockaways, New York. Her massive, in-situ paintings have been commissioned by contemporary art museums like MoMA PS1 in New York and the Centre Pompidou-Metz in Paris. In Basel, her work covers the Messeplatz, and the structures — from a fountain to benches and bins — it contains. 'Even the clock will get painted a little bit,' she told CNN in early June, before she started painting, referring to the huge timepiece on the facade of one of the exhibition halls. That required some logistical preparation, like emptying the fountain and covering it with an anti-graffiti coating so the paint can be washed away later, explained Natalia Grabowska, of the Serpentine Gallery in London, who curated the work. The square measures several thousand square meters, or about the size of a soccer field, said Grabowska. She added that Grosse is someone who can 'work at scale and really transform spaces.' Grosse says that the sheer size of the work, her largest to date in an outdoor setting, was a challenge for her. 'For me, it's an amazing possibility to develop my work further and test my thinking and painting,' she said. Although the artist created models of the work beforehand, she said that things always change on site as she responds to the situation on the ground. 'I have a lot of different surfaces. I have distances to bridge. I have to make it work and be vivid but coherent,' she said. The fact that her 'whole painting has to be invented on site' means that it might be 'the youngest work at the fair,' Grosse added. That made it particularly interesting to watch her paint, said Grabowska. 'She works very intuitively with her body and sees where it takes her,' she said. 'She walks back and forth — it is a bit like unscripted choreography, a bit of a dance.' Grosse's work might also be the shortest lived at the fair. After seven days, the paint will be peeled and pressure-washed away. 'I think it's the shortest lifespan of a piece I've done outdoors,' said Grosse. 'There's a beauty that it appears for a minute, and it's only in your memories and the pictures we've taken and the way we talk about it.' Still, she hopes that for a few days, it can help transport visitors. 'It's almost like a poetic space that's slipped under your familiar existence,' she said. 'Her work is so powerful that you get immersed in it instantly,' said Grabowska. 'You can't ignore it.' Grosse also hopes that her work will help people reconsider what forms painting can take, as they enter one of the world's most important art fairs. It 'doesn't have to be like a pancake on a wall,' she said.
