“We are witnessing a broadening of our collecting globally with new buyers entering the market, and securing a baseline of support for business alongside core audiences that continue to collect,” Art Basel CEO Noah Horowitz said during a press conference. “At the same time, we recognize that the art market is undergoing a period of recalibration. … There is clearly a degree of caution in the market these days. However, I will say, given the energy in the halls today, that the art market is very much still here, and very strong.”

The fair’s opening teemed with people, and big sales seemed to follow. An untitled work by Ashile Gorky from 1946–47 sold for $16 million at Hauser & Wirth’s booth. Meanwhile, a Yayoi Kusama sculpture presented by David Zwirner in the Unlimited sector sold for $5 million.  

Museum directors and collectors, such as Charles Carmignac, Emma Lavigne, and Fabrice Hergott, were spotted walking by a new version of Agnes Denes’s Wheatfield – A Confrontation (1984). First shown in New York’s Financial District, the work reappeared at the fair as a long rectangular patch of wheat stems. Fairgoers could walk through a path cut into Denes’s Wheatfield, making it a hit early on.

Below, a look at the best art on offer at the 2024 edition of Art Basel Basel, which runs until June 16.

The 172,000-square-foot hall reserved for Unlimited is currently home to 76 projects and live performances by Seba Calfuqueo, Resto Pulfer, and Anna Uddenberg and others. Giovanni Carmine, director of the Kunst Halle Sankt Gallen in Switzerland, has curated this edition of Unlimited, which, for the first time ever, will also feature a People’s Pick award, selected by visitors themselves. A winner will be announced by the end of the week after the votes are tallied.

There is no shortage of old works that have returned to view here: Wu Tien-Chang’s Farewell, Spring and Autumn, which appeared in the Taiwanese Pavilion at the 2015 Venice Biennale; Christo’s 2014 recreation of his 1963 wrapped Volkswagen; a 153-foot-long Keith Haring frieze from 1984; a reactivation of Carl Andre’s 1988 Körners Repose, consisting 50 floor units. But fear not, there are new works here, too.

Below, a look at some of the best and most impressive works on view in Art Basel’s Unlimited section.

The 150-year anniversary of this artistic movement is being celebrated across Europe and America. The fifth edition of the Normandie Impressionniste festival will mark the sesquicentennial with, fittingly, 150 events in Rouen, Caen, and other locations in Normandy over a span of six months. And the Musée d’Orsay, which has one of the best (if not the best) collections of Impressionist art in the world, has loaned about 180 works to 30 institutions for the occasion and mounted its own highly anticipated show, which debuted in late March. Here we highlight that show and 18 other must-see Impressionist exhibitions.

Across these presentations, it was evident that Venet is more than just the sculptor of the giant steel scultpures for which he is today best known. These sculptures have been shown in venues from Paris’s Centre Pompidou to Seoul’s Leeum Museum of Art, but despite his international prominence, full Venet retrospectives have been rare—especially in France, where he has yet to have a full-dress show on the scale that he has in other countries.

This week, in Venice, in a show held in to coincide with the opening of the Biennale, Venet will exhibit objects related to some of his earliest conceptual artworks, from the early 1960s, he recently inked a representation deal with the Bigaignon gallery, which will specifically show his photography, a lesser-seen part of his work. Meanwhile, the Paris 2024 committee, the group that facilitates art commissions tied to the Olympics, has commissioned Venet to create a work to make one of his steel arcs for a site in a park near the Stade de France and Saint Denis’s Olympic Aquatic Center, the only building that has been constructed specially for the games this summer.

As an artist who’s worked in many different mediums, Venet said in an interview that he defies labels. “My work is not about immediate seduction,” he explained. “It’s a language that needs to be learnt. One must understand the logic of an artwork in order to fully appreciate it. I am always looking for the right equation, solution, which convinces rather than persuades.

“Why limit oneself to one idea, when there is so much to be created?” the 82-year-old artist continued. “Sure, there is a constant in my exploring the line, but I try to take it to different places.”

Born in the south of France in 1941, Venet initially showed a taste for drawing and painting, not sculpture. At age 11, he chanced upon a book on Pierre-Auguste Renoir. As he was turning the pages, it hit him: art would be his reason to live.

He moved toward sculpture in 1961 while he was serving in the military. “In the 1960s, abstract art was over,” Venet recalled. “Pop art and New Realism and Narrative Figuration prevailed. No one wanted my tar paintings or my Pile of Coal,” a famed 1963 sculpture that is exactly what its title says.

That year was the one Venet began to forge an artistic connection that would help sustain his career. Through the artist Ben, Venet met the sculptor Arman in 1963. Venet sold a work that Arman the latter had gifted him, to pay for his first plane ticket to New York City, where he was introduced to Minimalist art. Arman continued to support him, giving him one dollar every day to buy some food and water, until he forgot all about Venet for an entire weekend. The artist remembers that weekend fondly.

It was around this time that Venet changed his first name from Bernard to Bernar. “It seems more ink has been spilled over the matter than over my art,” he said, laughing. “To be honest, I am not sure why I did it anymore. Bernard is hybrid. Bernar without the final letter sounded stronger, more impactful, somehow more ‘black.’… It is closer to my tar-coated pieces,” which were originally done on cardboard or paper.

In his 20s, Venet positioned himself against Abstract Expressionism and lyrical abstraction, which at the time were the most critically acclaimed—and the most financially viable—artistic tendencies. “The market did not care about me, which allowed me to go further and further in my investigations,” he said. To this day, he considers his most radical piece Représentation graphique de la fonction y=x²/4 (1966), This painting, which depicts an algebraic function, was acquired by the Centre Pompidou in 2006. “You can tell that the line will become the essential component of my work,” he said. “The equation paves the way for my mathematical paintings.”

Although much of Venet’s output since then has been sculpture, Venet said he had never abandoned painting: “I must insist on one thing: I am not a painter more than I am a sculptor, a performer more than I am a photographer. This is very important.” Instead, he simply considers himself an artist, relying upon whichever medium best suits his conceptual concerns.

“When I resumed to painting, in 1976, I opted for simple geometrical figures, leaving my canvases in the field of self-referentiality, of monosemy (as opposed to the concepts of pansemy and polysemy, respectively associated to his abstract and figurative creations). With those new canvases, I embraced aesthetic considerations that used to be excluded from my conceptual works. I then began to pay attention to the off-white quality of a background, to choose more carefully the greys I should use to paint this or that line.”

After some 50 years in the States, Venet returned to France. Eight years ago, he created the Venet Foundation, in Le Muy, next to Nice. He often describes it as a work of total art.

“I started with nothing,” he said. “I wanted to give back to society, to whom I owe everything I have possess. My children have perfectly understood, when explained it to them.”

This nearly 20-acre estate is home to about 100 works by people ranging from Fluxus artist Ben to the late sculptor Arman. Yet his holdings are not just limited to Frenchmen: he also owns art by American Minimalists like Donald Judd and Sol LeWitt, as well as British sculptures like Anish Kapoor and Anthony Caro. Those works are accessible to the public. Venet is also building a private collection that includes drawings by Matisse and Picasso.

The grand size of Venet’s foundation is in some ways mirrored by the scale of his sculptures. In 2019, he unveiled Arc Majeur, a 250-ton steel arc surrounding a Belgian highway that holds the record for the biggest artwork in Europe. He had the idea for it in 1985, and it took 30 years to make this project happen. Last summer, after joining Perrotin’s roster, he presented two giant stack of monumental arcs in the middle of Paris’s emblematic Place Vendôme. But he is not done yet.

He teased two projects. This summer, a 3D avatar of Venet will welcome the visitors to the artist’s foundation in Le Muy. He was interviewed last year covered with sensors meant to capture all his coming and goings, and any of his movements. “Not only will this avatar have my voice, but it will also borrow my attitude,” he said. “It has a pedagogical purpose.”

The second project Venet is very excited about is planned to mark the 200th anniversary of Nice’s 1860 annexation to France. It’s a mysterious work set to be produced and unveiled in 2058, long after Venet is dead—if it is ever realized at all. No one knows what it will look like. “It will be up to the municipality to fund its fabrication,” he said with a hint of mischief. “Or not. Who knows if I will be remembered by then.”

Titled “A Mountain not to climb on. For Monet,” Laib’s exhibition at the Musée de l’Orangerie consists of two impressive installations that bring Impressionism, which is celebrating its 150th anniversary this year, into the 21st century. On the lower level, more than a hundred piles of rice take up the entirety of a small, single room located opposite the permanent artworks and a temporary exhibition gallery currently devoted to Robert Ryman (through July 1). Laib, who represented Germany at the Venice Biennale in 1982, started using rice and wax in 1983, and has kept to the medium, 40 years on, for the sake of consistency. “In the past 50 years, I have experimented new techniques, of course, but not every five minutes. Had Piet Mondrian shifted his practice every other month, no one would look at his art the way they do now,” Laib told ARTnews in a recent interview.

On the first level, past the entrance hall, in an all-white antechamber that leads to Monet’s Water Lilies, a four-inch pyramidal pile of a yellow powdery material sits on a display pedestal. Laib said that Claire Bernardi, the museum’s director, “wanted a pollen piece in connection with Claude Monet. This type of work requires a quiet space.” The pollen on view here is sourced from hazelnut trees, the same kind as the large-scale floor installation he made in 2013 at the Museum of Modern Art in New York. “It is a bit sticky, which allows me to shape it as a mountain. Pollen from pine trees, for instance, is thinner. It would collapse and flow like lava from a volcano,” he added.

Laib has always worked with natural materials in his art-making. It all started with stone. In 1972, he carved his first Brahmanda, an ongoing series of egg-shaped stone sculptures that elegantly rest in the middle of nearly empty rooms. That pursuit led him to study medicine, not to pursue a career as a doctor, but to further his art. A few years later, Laib rose to fame with his Milkstones, slabs of pure white marble sanded down to contain milk.

In 1977, Laib, then an up-and-coming sculptor, began to collect pollen, which he refers to as “the beginning of life,” around his home in Germany. “It fits the way he has been living his whole life”, his wife Carolyn Reep explained during our interview. “The glass house, that his father built near the town of Biberach, stands in the middle of a meadow. He has always been connected to nature.” (The house was inspired by Mahatma Gandhi’s original house at Sabarmati Ashram, in Ahmedabad, India.)

As for rice, “it is food but visually it has a very abstract presence, which I really like,” Laib said. In the context of the Musée de l’Orangerie, some may see rice grains as a physical variation on Pointillism, a branch of Impressionism.

Laib’s relationship to Impressionism and Claude Monet specifically dates back to his teenage years, when his parents took him for the first time around Europe. He remembers seeing a major work by the Impressionist, though all these years later he can’t recall exactly which one. For Laib, it was more the impression the work left on him. Back then, his family had only eyes for Kazimir Malevich and worshipped Constantin Brancusi almost like “a demigod,” he said.

Laib continued, “Making a mountain of pollen in this ocean of waterlilies almost feels like meeting Claude Monet in person. I had the same sensation, the same timeless experience with Fra Angelico in Florence [in 2019].”

There are certainly similarities between the two artists, working decades apart. Like Monet, Laib lives close to nature, to the earth, and enjoys studying plants. Monet’s depictions of poppy fields, urban monuments like Paris’s Gare Saint-Lazare or the Rouen Cathedral, or his personal garden in Giverny are often thought to border on abstraction. And in a way, Laib’s non-figurative works can also be thought of as landscapes. “To me, the visual presence of those rice and pollen mountains is simply beautiful,” he said.

Both artists have also been influenced by Asian art and culture. Monet collected over 200 Japanese prints during his lifetime and constructed a Japanese bridge built in his garden in Giverny, which was also the subject of his final body of work. Laib’s parents were friends with German landscaper Jakob Bräckle, who introduced them to Taoism and Zen Buddhism and ultimately led them to collect Tantric drawings, which reminded them of Mondrian’s aesthetic.

The day of his performance at the Musée de l’Orangerie was the day when Laib was returning to Europe from India, where he has maintained a studio since 2006. He usually spends a couple of months there once or twice a year to work on new projects. “Life in India is not easy. It’s like living on another planet. You learn so much about yourself. It opens your mind to something different,” Laib said.  

His Indian studio and home are nothing like the minimalist glass house his father had built in 1960s Germany, though Laib still enjoys visiting it, especially in the spring—the best time to begin harvesting pollen. Before landing in Paris, Laib was working on a new series of Brahmandas in black granite. With his response to Monet’s Water Lilies now behind him, Laib admitted that his absolute dream in the future would be to perform a mountain of pollen on a Brancusi table.

The fair’s fifth iteration launched yesterday and will close on February 11. Some 27 exhibitors are participating. Fourteen are from the African continent, and eight are based in Morocco—twice as many as last year. Many have brought not one, not two, but three artists, as if it were this year’s lucky number. Among those artists, many work produce textiles, adding to a centuries-long tradition in Morocco.

Below, a look at seven of the best offerings at 1-54.

It stands to reason that France, a country with a deep and rich art history and some of the most dedicated collectors in the world, would also host some of the greatest art foundations. Here, we introduce you to 15 of them.

The 17th century palace, first occupied by a Jewish family of butchers, is named after arts patron Hortensia Herrero. The wife of supermarket tycoon Juan Roig, Herrero has helped conserve and restore the city’s Iglesia de San Nicolás de Valencia and the Colegio del Arte Mayor de la Seda, among other sites in the city. The Palacio Valeriola, once the headquarters of the national newspaper Las Provincias and a nightclub guarded by two caged living lions, is now home to Herrero’s private collection.

Originally focused on artists local to Valencia, Herrero began to expand her collecting practice after a visit in 2013 to the the opening of the “Sorolla and America” exhibition, at the Meadows Museum in Dallas. There, she met Valencian curator Javier Molins, who advised her to open up her collection to international artists, unaware that he would soon after be asked to help scout them.

“We started visiting art fairs, biennials, exhibitions, studios together. Fortunately, Hortensia and I have similar tastes,” he told ARTnews. The first work the pair agreed on is Anselm Kiefer’s Böse Blumen (2012-2016), which they spotted at the Royal Academy in London. A pictorial tribute to Charles Baudelaire’s cycle of poems Les Fleurs du Mal, the work shows flowers timidly sprouting from the cracks of a thick and dry surface. At close to 20 feet wide and nearly 10 feet tall, Böse Blumen is so monumental that the question of its presentation arose soon after.

Herrero had long been toying with opening a brick-and-mortar space to steward her treasures, so when the Palacio Valeriola became available for purchase in 2016, she jumped at the opportunity, also buying the stationary shop across the street that now serves as the center’s shop and ticket office. She entrusted the rehabilitation project to ERRE studio, led by her daughter Amparo Roig and José Martí. Both architects have done a marvelous job revamping the Gothic palace to its initial state, recycling some of its materials into the underside of a new set of stairs, and connecting it to a building on San Cristobal street that had to be almost entirely reconstructed.

The rehabilitation process has dictacted how one explores the 27,600 square-foot display of 100 works. A typical visit starts on the first floor of the palace. Though the center’s first gallery is framed as an ode to international living artists, there are works by 20th century masters like Joan Miró, Alexander Calder, Jean Dubuffet, and Roy Lichtenstein. Elsewhere, the public is invited to step through Cristina Iglesia’s cave-like installation Tránsito mineral (2023) into the second wing of the center and, from there, to work their way back down, from the David Hockney galleries—devoted to the English artist’s Four Seasons and Autour de la maison series—to the lower level, where contemporary photographs by Thomas Ruff, Idris Khan, and Antonio Girbés, hang in dialogue with pedagogical materials on the history of Valencia and of the center.

Meanwhile, a patio door on the left side of the entrance overlooks a display of 18th-century ceramic azulejos found on site. The floral species identified on those ceramic pieces have been planted underneath each corresponding tile. Until 1389, this outdoor space was known as Calle Cristòfol Soler, the northern border of Valencia’s Jewish quarter.

Other archaeological discoveries have been made during the excavation process. There are more ruins of the juderia, or Jewish district, such as an eight-pointed-star-shaped fountain which stood outside the Islamic house of emir Haçach Habinbadel, as well as ancient graffiti preserved and presented on the top floor, a medieval oven filled with remains of animal bones and kitchen earthenware, and a crystal vase next to the skeleton of a young girl.

There is even a horse skull, which was an inspiration for Mat Collishaw’s Left in Dust, a chandelier-like screen on the museum’s patio showing horses galloping first freely, then before an overexcited crowd. The physical loop in the work references the shape of Valencia’s long-lost Roman circus, while the video loop conveys the despair of having to repeat the same action over and over again.

“I wanted to contrast the freedom and the captivity of the animal doing the same movements in two different environments,” the London-based artist told ARTnews, adding that it was important that the work resonated with its host city. “I was thinking of things within the city that I could incorporate. My work often references primal impulses, certain behaviors or traditions that are prehistoric. Fire, for instance, does not have the same urgency or profundity that it did when we were trying to control it.”

His second installation for the center, Sordid Earth (2022), projects images on either wall of a corridor space of the Fallas, a Spanish festival where effigies are created only to be burnt down amid a fireworks display in March. The longer you stand between the screens, the more heat you start to feel. Is it the energy released by super-efficient LED, or is your mind playing tricks on you?

Five other artists have been commissioned to make works especially for CAHH. For the 52-foot high entrance hall, Tomás Saraceno, also known as “the Art World’s Amazing Spider-Man”, has imagined six tetrahedrons and dodecahedrons covered with iridescent acrylic glass. Some may identify those geometrical shapes, hanging at various heights from the ceiling, as rainbow-tinted clouds; others as disco balls, especially at nightfall, as their colors reflect off the stone walls and stairs of the bulding. The artist himself describes those floating elements as soap bubbles, filled with “cosmic spider webs” (you will see them, if you look carefully).

The most impressive site-specific installation. However, may be the Sean Scully Chapel, which includes stained-glass windows by the Irish artist, as well as a large canvas from his Landline series with horizontal stripes, and drips of red at the bottom, evoking the blood of the Christ. Above the installation reside four ceiling allegories of Painting, Writing, Commerce and the Stationery Trade, painted in 1881 by Valencian master Joaquín Sorolla, and his students José Nicolau Huguet, Vicente Nicolau Cotanda, and Juan Peiró. Herrero purchased the works 20 years ago and decided with Molins, the curator, to have them moved into the palace’s chapel during the restoration. Restorers have recovered representations of the Gospel in each pendentive of the dome that had to be rebuilt entirely. This confrontation of past and present is evocative of Herrero’s vision, where heritage, classical, and contemporary art all meet with grace.

Some hotels have always been imbued with art; you might say art is part of their DNA. For instance, La Ferme Saint Siméon in Honfleur, France, was a refuge for Monet and Corot, and—lucky for us—they left some of their work behind. Similarly, works by Picasso, Calder, and Miró remain at La Colombe d’Or near the Cote D’Azur, all frozen in time.

Below, a look at 25 hotels around the world that are certain to thrill art aficionados.

Founded in 2003 by Kling & Bang, the Icelandic Art Centre, and the Living Art Museum, Sequences has gained popularity and grown in ambition, and was helmed by Marika Agu, Maria Arusoo, Kaarin Kivirähk, and Sten Ojavee, who run the Estonian Centre for Contemporary Art in Tallinn. It may seem strange to bring in four Estonians to curate an Icelandic art festival, but part of Sequence’s point is to highlight connections between Baltic nations and Iceland. This festival does so convincingly.

Their exhibition, titled “Can’t see,” explores the ever-growing threat of ecological destruction. Divided into four chapters—”Soil,” “Subterrain,” “Water,” and “Metaphysical Realm”—their show was spread across the Nordic House, the Living Art Museum, the National Gallery, and Kling & Bang.

For the show, site­-specific installations are placed in dialogue with preexisting works and institutional loans, including a painting by Jóhannes Sveinsson Kjarval (1885–1972), Iceland’s national hero. “It was important that we allow ourselves to travel back in time,” Arusoo said. “We wanted to look into the local history, to avoid pinning artists, whose works may echo through time, to a specific period.”

Below are five must-see artworks at Sequences, which runs through November 26.