TEFAF Maastricht 2024 Highlights: Artists. Part 3

The latest publication about the artworld

TEFAF Maastricht 2024 Highlights

With 260 leading dealers from 20 countries, TEFAF Maastricht shows you more than 7,000 years of art history, through the ages and from all over the world.

Tracey EminThe artist has painted a picture of female pain like no other. She spent decades telling the truth about women's bodies through her many artworks, the world was just too slow to realise it. Emin has always, unflinchingly, spoken the truth about women’s bodies, but was frequently criticised for it. “A lot of my work I was accused of moaning or whingeing or whining.
‘Oh, she’s banging on about rape again.’ Or, ‘Oh God, not the abortion.’ Well, I’m sorry. Lots of women have abortions. Yeah, I’m constantly trying to explain these things, and have been for the past 30 years... it used to really bother me because they were wrong. Wrong and cruel. I was hounded; it was like a sport.”

Hans Op de BeeckHow we stage our surroundings and how these surroundings become the scenery of both festive and tragic moments, recurring home rituals, and lonely daydreams are the subjects that interest the artist.
Utilizing diverse media, including installations, sculptures, video works, animated films, short stories, paintings and drawings, photography, new media, and stage design Op de Beeck creates deserted often monochromatic scenes that can evoke both peacefulness and melancholia: they can be experienced as beautiful or uncomfortable, as banal or serious.

Loris CecchiniThis artwork brings to mind two important facts about the natural phenomenon of the Aeolian landforms. The first is the etymology of the word aeolian, which comes from Æolus, the Greek God of the Winds. The other is the fact this phenomenon is also found on the surfaces of other planets such as Mars. While Cecchini’s reference is earthbound, it speaks to a larger context that is beyond our visible world.
“For me, it’s a practice that recognises the wide potential of material expression across different media, in which the surface is enhanced by a play of light and shadow on colours, the surface that elegantly fuses ornament and adornment.
In order to pursue a new materialism, in visual cultures, where surface matters. The colour becomes an emotional field; the dust-like quality of the surface plays with the depth of colour thanks to the particular absorption of light in a certain relationship with the idea of the sublime, containing strata, sediments, and deposits.”

Kader AttiaThe peculiarity of this work, minimal and massive at the same time, is that it will be covered with a thin metal “veil” composed by thousands of metal boxes of tobacco coming from Algeria. These small boxes show a picture of a crescent moon (a symbol of Islam) engraved on it.
After each round little box had been turned into a triangle, the artist connected each triangle one to the other in a group of six, each one giving a Star of David (symbol of Judaism). The strange and beautiful experience coming out from this accumulation of triangles evokes at the same time two paradoxical ideologies, hiding the big modernist and minimal structure.

Harumi Klossowska de RolaDuring her career, the artist’s love for the craftsmanship that allowed her visions to take form grew and she turned toward sculpting on a larger scale, always influenced by the flora and fauna of the natural world in which she grew up. In her sculptures, she reconnects her soul with the spirits of animals, following the paths of the animist and ancient native civilizations of the world.
They appear like so many of the treasures arising from our collective subconscious, conferring a character of absolute universality to the mystical animals.  Each of her magnificent creatures emits a unique sensibility, evoking without fail a singular emotion in its viewers.

Laure ProuvostFrench artist Laure Prouvost invites us to look for the things that connect us, despite our differences, regardless of our age, language or origin. Besides the dreamlike nature of the work, her work is also sharply activist; emancipation, globalisation, climate change and global warming are major themes in her oeuvre and reflected in this artwork presented within TEFAF Maastricht art fair, with the Eben Ezer Tower on the background, located in eastern Belgium, which is conspicuously topped at its four corners by large stone sculptures of the four cherubim of the Apocalypse: a bull on the north-west turret, man, in the form of a sphinx in the south-west, a lion in the south-east and an eagle at the north-east corner.
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