Art Basel 2025: A Journey Through Captivating Contemporary Art
An Expert’s Perspective
Tunisian art connoisseur Amina Debbiche, co-founder of the innovative digital art platform The Open Crate, shares her insightful impressions from the vibrant Art Basel contemporary art fair in Switzerland. Along with Nora Mansour, Debbiche’s platform aims to help clients digitize entire collections of artwork, design objects, and luxury items, emerging as a pivotal player in the evolution of art digitization.
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Yto Barrada at Sfeir-Semler Gallery
Debbiche recalls her first encounter with Yto Barrada’s work at the 2011 Venice Biennale’s Arsenale, noting the artist’s unique blend of poetic and political themes. Born in Paris and raised in Tangier, Barrada’s body of work encompasses diverse media such as film, photography, and textiles. Her upcoming representation at the Venice Biennale, curated by Myriam Ben Salah, reinforces her prominent status in contemporary art.
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Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited
With its deeply layered storytelling, Alia Farid’s “Elsewhere” captivates Debbiche. The piece intricately maps the migration patterns of Arab and South Asian communities to Latin America and the Caribbean, presented through handwoven rugs crafted by Iraqi artisans. Farid’s ability to reclaim overlooked narratives resonates strongly, showcasing the intersections of memory, identity, and geography.
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Eunnam Hong’s ‘Safeway’ at Mendes Wood DM
Debbiche describes Eunnam Hong’s “Safeway” as a work that stopped her in her tracks. The painting artfully melds cinematic influences and K-drama aesthetics, exploring themes of identity and performance through staged vignettes. Hong’s figures, glowing in soft light and adorned with subtle details like curlers and headscarves, embody a sense of generational longing and rebellion, presenting a striking vision of suburban surrealism.
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Simone Fattal’s ‘Music On My Mind’ (2024)
In Fattal’s sculptural work, Debbiche finds a profound representation of themes including memory, exile, and resilience. A Syrian Lebanese artist, Fattal draws from archaeological and poetic influences. “Music On My Mind” stands out for its subtlety and quiet power, resonating with a deep sense of poetic introspection, encapsulated in a rarely created large-scale piece.
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M’barek Bouhchichi’s ‘Terra’ Series (2024)
Debbiche highlights M’barek Bouhchichi’s “Terra,” which juxtaposes cultural narratives between Morocco and Mali through henna-dyed wool creations. Drawing inspiration from ancient weaving techniques, Bouhchichi’s work seamlessly merges textile and painting, creating compositions that evoke memories of landscape and heritage.
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Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner
The somber yet evocative “The Goat from Grayson” by Noah Davis encapsulates a dreamlike quality while embracing the nuances of Black lived experience. Debbiche admires Davis’s ability to weave rich symbolism with painterly tenderness, crafting scenes that feel simultaneously intimate and grounded. His legacy as a cultural figure shines brightly, especially as the founder of The Underground Museum.
Eric Fischl’s ‘After the Funeral’ (2017)
In Fischl’s “After the Funeral,” two women hover in limination between intimacy and detachment, reminiscent of a paused cinematic scene drenched in unspoken drama. Debbiche notes the painting’s striking ability to encapsulate a moment in time, echoing themes of suburban psychology and societal dynamics through a meticulously crafted lens.
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Sheila Hicks’s ‘Lianes Etoiles’ (2020)
The enchanting “Lianes Etoiles” by Sheila Hicks draws Debbiche in with its vibrant threads and sculptural layering. Hicks, a pioneer in textile art, transforms fiber into a visually rhythmic language that transcends mere representation, offering a blend of contemporary and ancestral narratives woven into a meditative experience.
Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii Glass Amphora (#06)’ (2023)
Wael Shawky’s work offers an intricate exploration of history intertwined with contemporary commentary. This piece, showcased at the Egyptian Pavilion, combines ornate textiles with Murano glass forms, embodying Arab myth and storytelling. The delicate balance of subtlety and richness in reference adds depth to Shawky’s already celebrated oeuvre.
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Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery
The exquisite portrait of “Floral One Piece” by Amoako Boafo represents a powerful statement on Black identity and presence. Through textured brushwork and intricate detailing, Boafo crafts a visually striking narrative that resonates with both dignity and individuality, maintaining a sense of quiet strength.
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Maurizio Cattelan and Rudolf Stingel at Gagosian Gallery
Debbiche’s exploration concludes with the bold pairing of Maurizio Cattelan’s “No” and Rudolf Stingel’s “Untitled” at Gagosian. Cattelan’s satirical figure encapsulating the complexities of modern life contrasts sharply with Stingel’s meditative abstracts, creating a poignant dialogue on visibility, repression, and the absurdity of contemporary existence.
In this thrilling journey through Art Basel 2025, Amina Debbiche reveals the rich tapestry of contemporary art among diverse artists, each work resonating with profound narratives that transcend geographical and cultural boundaries.
