Under the Newly Renovated Grand Palais: An Edition of Art Basel Paris 2024 That Delivers

Pauline Loeb in the Grand Palais for Art Basel Paris 2024. Arfairmag

Despite the exclusivity of Art Basel Paris’s first preview, “First Choice,” reserved for top collectors and a select few, the line was long at 10 a.m. on Wednesday, October 16, at the Grand Palais. It’s no surprise given the excitement to finally experience the third edition of the fair under the newly renovated, majestic vault of the Grand Palais. It was also a chance to admire Yayoi Kusama’s impressive brown pumpkin on the avenue Winston Churchill.

As I descended the stairs, I came face to face with a striking work by Brazilian artist Laura Lima—a life-sized clown squatting on the floor, its chest rising and falling with calm breaths. The A Gentile Caraioca gallery, based in Rio and São Paulo, showcased it only on the opening day. On the ground floor, the main section unfolded, featuring 170 French and international galleries specializing in modern art, post-war art, and contemporary art.

As usual, the Galleria Continua booth shone with eclectic styles, the talents of its artists, and vibrant colors. Among the highlights were a poetic cardboard sculpture enhanced with embroidery by Eva Jospin, echoing the recent “Tromper l’Oeil” exhibition the gallery hosted in its Parisian space; a stunning mural by Daniel Buren; a framed, partially shattered mirror by Michelangelo Pistoletto; a dark red stainless steel and lacquer disc by Anish Kapoor; a chalk fresco by Pascale Marthine Tayou, surrounded by her signature colorful stones; and a striking Parisian bench with a metal pigeon perched on it by Adel Abdesseme.

The booth of Belgian artist Xavier Hufkens offered an intriguing dialogue of contrasts and complementarity. A large bronze ‘Mystery Owl’ by Thomas Houseago greeted visitors with a stern expression, softened by the presence of a solid cast glass round sculpture by Roni Horn. On the wall, the colorful and bright work by Chinese artist Zhang Enli, titled ‘The Babysitter’ from 2024, provided a striking contrast to McArthur Binion’s piece, an ink on paper that incorporates text from Thierry De Cordier, a Belgian artist born in 1954 in Flanders, known for his introspective and philosophical approach to art.

Xavier Hufkens’ booth at Art Basel 2024, featuring Thomads Houseago, McArthur Binion, Thierry De Cordier, Qiu Xiaofei, Mark Mandera, etc. © artfairmag

It’s hard to summarize my visit, as every step brought me face to face with a masterpiece. I was particularly struck by an abstract and vibrant view of Cairo by Julie Mehretu, sold on the secondary market by White Cube for $9.5 million; a stunning black and blue canvas by Pierre Soulages at Perrotin; a large painting by Pablo Picasso depicting the artist and his muse, presented by Van de Weghe—one I had already admired at their booth during Art Monte-Carlo last July; and an enormous embroidered world map (Mappa) by Alighiero Boetti, sold by Tornabuoni on the very first day of the preview.

But I especially loved observing the large oil painting by Dhewadi Hadjab, just outside the Mennour booth. I got to know Dhewadi’s work when he was still a student at the Beaux-Arts de Paris back in 2021. This year, I had the chance to purchase works from two students—who are also friends—from his class: Bilal Hamdad (now represented by Templon) and Abdelhak Benallou. Unfortunately for me, and fortunately for him, Dhewadi had already signed an exclusive contract with Kamel, leaving me empty-handed! I adore the realism he distorts with the improbable twisting of the bodies he depicts, and this painting was no exception. It didn’t take long to find a buyer…

Dhewadi Hadjab, Untitled, 2024. Oil on canvas, 180 x 145 cm. Mennour at Art Basel Paris 2024 © artfairmag

Art Dealers Interviews

For once, I had the luxury of waiting until day three to conduct my interviews. This meant I was facing relaxed and available dealers—what a delight! At Gagosian, the lovely Elsa Favreau, director of the Paris gallery, introduced me to an incredible painting by Simon Hantaï from 1968, part of the “Meun” series. At Templon, Mathieu Templon, the director in New York, provided me with valuable insights into the delicate work of Chiharu Shiota. Meanwhile, at Esther Schipper, I thoroughly enjoyed discussing the work of Julius von Bismarck with associate director Giulia Gelmini—a wooden articulated wolf that echoed the push toys from our childhood. At the Galerie Vallois booth, I was shaken by ‘The White Goddess,’ a piece by Nikki de Saint Phalle presented to me by Dorian Dogaru. Lastly, at Nathalie Obadia, I was completely captivated by Laure Prouvost’s large tapestry representing the Palais Idéal Du Facteur Cheval, of which I had no prior knowledge!

Some visitors raised their eyebrows at the significant number of foreign exhibitors at a fair that claims to be at the forefront of French creation. However, I must highlight the presence of 65 galleries with a space in France. The expected quality was undeniably present, and I must say I absolutely loved my two full days of visiting. I can’t wait for next year! In the meantime, it’s off to Miami for Art Basel Miami Beach in early December!