Returning for its ninth edition, Paris Internationale has brought together 70 exhibitors at the Central téléphonique Le Cœur, an iconic building in Paris’s 9th arrondissement that is now a dusty and somewhat dilapidated raw space. Focusing on younger galleries from across Europe, the US, and Asia, the fair largely stands in opposition to Paris+ par Art Basel, with few well-known names on view here.
Below, a look at some of the best work at Paris Internationale, which runs until October 22.
Murat Önen at Galerie Max Mayer
The fair’s best grouping of paintings comes courtesy Murat Önen, whose groupings of bodies—some pictured during orgies—meld into abstractions. The booth’s central work is a triptych, You wrote me this lullaby, shows three men asleep in a bed that serves as the work’s lefthand panel. The central and righthand panels are blank pieces of grayish stretched linen, to which Önen has affixed five oil-on-paper works. In one, a figure is subsumed by flowers, while another features a body kneeling against a green wall that blurs beyond figuration.
Jakob Lena Knebl at Georg Kargl Fine Arts
Jakob Lena Knebl, who was included in the Austrian Pavilion at the 2022 Venice Biennale and is now the subject of a solo show at the Palais de Tokyo, has two eye-catching sculptures in the booth of Vienna’s Georg Kargl Fine Arts. Installed atop a raspberry carpet, one features a yellowish form with a fluffy head; opposite it are two pairs of legs in green go-go boots that form a circle together. Knebl’s fascinating work is all about questioning notions of gender, opening up new possibilities for one’s identity in the process.
Ulrike Müller at Bridget Donahue
For her first art fair in Paris, New York dealer Bridget Donahue has brought a sampling of works in different mediums by Ulrike Müller, who is included in the traveling exhibition “Woven Histories: Textiles and Modern Abstraction,” which recently opened at the Los Angeles County Museum of Art. Two woven works, similar to ones seen in the LACMA show, are displayed alongside four of her fascinating abstractions formed from vitreous enamel on steel. Opposite them are two abstract monotypes by the artist. In her work, Müller is thinking through the histories of abstraction, both of which have been dominated by straight men. With these works, she subverts those lineages, charting new paths for painting in the process—without using any paint at all.
Jimmy De Sana at Amanda Wilkinson
As a part of a two-artist presentation, titled “Desire: When You Step Over the Line, the Line Becomes You,” London-based gallery Amanda Wilkinson has brought paintings by Oisín Byrne and photographs by Jimmy De Sana. A black-and-white photograph, from the latter’s “Submission” series (1979), shows a naked man who is covered in masking tape, save for his penis. It is paired with archival Cibachrome prints from his “Suburban” series, including one depicting a nude person in heels pretending to walk a tightrope made from an extension cord as they balance a wicker chair on their head. These are the kinds of works for which De Sana, who died in 1990, has become well-known, but in this booth, one of the best works on view is one that looks quite unlike them: a still life in which rows of blueberries obscure a piece of foam.
Vunkwan Tam at Empty Gallery
Two Vunkwan Tam floor pieces in Empty Gallery’s booth include zombie costumes from the 2010 film Resident Evil: Afterlife that the artist found and purchased online. In placing the costumes beneath the polyurethane film, the suits are obscured. Perhaps this is a metaphor for life itself: when things change so rapidly—when “Resident Evil” movies are made year after year and the story mutates so quickly it is hard to keep up—everything becomes foggy and unclear, and it can be hard to understand what is actually going on.
Hu Yinping at Magician Space
As part of an ongoing project, titled “Xiao Fang,” that she begun in 2015, Hu Yinping created a semi-fictional character that employs older women in the artist’s rural hometown in China’s Sichuan province. The region has been left behind by the country’s rapid globalization and economic development over the past several decades, but when Hu returned there for the first time in years, her mother and other women had created a co-op of sorts that be sold in bulk for cheap prices the hats the knitted as a way to sustain themselves. Through her character Xiao Fang, Hu purchased these hats and other knitted accessories for a high markup as a way to stimulate the town’s economy.
In the years since, her commissions have grown more inventive. On view here are dozens of two-piece bikinis that the women made, working from a prompt that called on them to imagine what they would wear for a day at the beach. Displayed in vacuum-sealed plastic bags and hung from above, they range from gorgeously colored garments to ones with fruits or lettering on them.
Emanuele Marcuccio at Lodos
Mexico City’s Lodos gallery has brought a new body of work by Italian artist Emanuele Marcuccio that includes a suite of photographs and brightly colored metal plates that are adhered to wooden furniture. It is the photographs that prove particularly striking. Crafting his photographs with the help of a set designer, a photographer, a saxophone player, and a dog, Marcuccio offers up what appear to be intriguing half-formed sets, each composed of two false walls. In one, the dog rests in front of a covered mirror, with a broom to its right. In another, we see a close-up of the sax’s bell. Each photograph is mounted on a screen-printed wallpaper of Marcuccio’s own making that is then framed.
“A Drawing for Morocco”
Located in its own dedicated space on the fourth floor is a charity fundraiser called “A Drawing for Morocco,” whose goal is to gather donations as part of reconstruction efforts in Morocco following the September 8 earthquake there. Organized by writer Mouna Mekouar, LUMA Arles CEO Mustapha Bouhayati, David Zwirner Paris director Samy Ghiyati, and Mendes Wood DM Paris director Nicolas Nahab, the exhibition invited nearly 120 artists to donate one or more artworks on a sheet of A5 paper. Each is being offered for €800 ($845), with tender works on offer by artists like Mona Hatoum, Camille Henrot, Pierre Hugyhe, Adrián Villar Rojas, Wolfgang Tillmans, R. H. Quaytman, Anri Sala, Laura Owens, Peter Uka, and many more.