The 2024 edition of Art Basel Paris concluded successfully today amid an energised response from galleries and local and international visitors. The fair, which brought together 195 galleries from 42 countries and territories, including 65 galleries operating spaces in France, attracted an overall attendance of more than 65,000* throughout its VIP and public days, including leading figures and rising stars of Paris’ vibrant creative scene.
Exhibitors reported a breezy mood and outstanding sales across all market segments and show sectors. Galleries placed work by some of the world’s leading contemporary artists, 20th-century masters, and emerging voices—including Louise Bourgeois, Julie Mehretu, Willem de Kooning, Lee Ufan, Olga de Amaral, Paulina Olowska, Camille Henrot, Lungiswa Gqunta, Juliette Roche, and Mimosa Echard—in esteemed public and private collections.
Notable Sales
Art Basel Paris 2024: Big Sales, Bigger Price Tags, and the Waiting Game for Collectors. The art world descended on Paris this week for Art Basel, where top galleries showcased a range of coveted works, from Surrealist treasures to blue-chip modern masterpieces. With multimillion-dollar price tags and private negotiations, the fair highlighted the current state of the high-end art market, leaving dealers optimistic but waiting for collectors to finalise their purchases.
One of the most notable sales at the fair was Nahmad Contemporary’s acquisition of Max Ernst’s Cage, forêt et soleil noir (1927). Priced at $10 million, the painting had previously fetched £3.1 million at a Christie’s auction in 2021. Ernst, one of the most influential figures in the Surrealist movement, had another piece drawing attention at the fair—a small but captivating painting titled Alice in 1939 (1939), shown at Pace Gallery. Priced at $4.5 million, this work captures Ernst’s lover, artist Leonora Carrington, amid a surreal metamorphosis.
Emmanuel Di Donna of Di Donna Galleries reported strong sales from his meticulously curated booth featuring works by four Surrealist heavyweights: Agustín Cárdenas, Wifredo Lam, Yves Tanguy, and Alicia Penalba. “My market is fine,” Di Donna stated confidently, adding that of severe collectors, purchasing “top-end 20th-century works at prices that make sense” is often an easy decision. His next exhibition in New York, opening October 29, will focus on these same artists.
At the higher end of the price spectrum, Kazimir Malevich’s Suprematism, 18th construction (1915), was the priciest piece for sale at the fair. Displayed dramatically against a royal-blue backdrop at Hauser & Wirth, the work sold for $33 million at Sotheby’s in 2015. Although the gallery declined to disclose its current asking price, senior director Carlo Knoell said it remains “not very different today.”
Meanwhile, Robert Landau’s gallery, known for presenting top-tier Impressionist and Modern artworks, showcased Wassily Kandinsky’s Murnau mit Kirche II (1910), which sold for $44.8 million at Sotheby’s earlier this year. While the painting was also displayed at Art Basel in Switzerland this past June, Landau clarified, “It’s the most expensive painting in this building,” but added, “It’s not for sale.”
Gerhard Richter’s work has also been shown strongly in several leading galleries, although none have been confirmed to have sold. Brussels’ Vedovi Gallery offered a large red abstraction by Richter priced at $22 million, while David Zwirner presented two of the artist’s photorealist paintings, priced at $8 million and $10 million.
Tom Wesselmann, a Pop artist whose market has long been undervalued, appeared in multiple booths. With a major retrospective currently on view at the Fondation Louis Vuitton, dealers are hopeful that demand for his work will rise. Vedovi Gallery featured a Wesselmann painting priced at $4.9 million, with Vedovi noting, “Maybe the show will change the market.”
As Art Basel Paris continues through Sunday, the real test for galleries will be whether the reserves convert to sales. New York dealer Christophe van de Weghe, whose opening-day display included a $22.5 million Jean-Michel Basquiat and several Picasso works, expressed optimism, stating, “By tomorrow, we should be able to say we’ve done a lot of business.”
To mark its arrival at the Grand Palais, Art Basel Paris introduced Premise, a new sector dedicated to highly singular curatorial proposals which brought together nine galleries. Emerging artists and galleries were spotlighted in Emergence, which featured 16 exhibitors.
The show’s ambitious Public Program, which unfolded across ten storied sites of the French capital, further strengthened Art Basel’s deep connection with Parisian heritage and showcased its ability to create bridges with other creative industries.
Who Was There
Leading art patrons and private collectors from France, Europe, the Americas, and Asia visited the show. Furthermore, Art Basel Paris’ 2024 edition was attended by representatives of more than 220 prestigious museums and foundations from across the globe, including the Art Institute of Chicago; Centre Pompidou, Paris; Elgiz Museum, Istanbul; Fondation Beyeler, Basel; Guggenheim Abu Dhabi; Leeum Museum of Art, Seoul; Los Angeles County Museum of Art (LACMA); MAM | Museu de Arte Moderna de São Paulo; Museo Nacional Centre de Arte Reina Sofia, Madrid; M+ Museum, Hong Kong; Pinault Collection – Bourse de Commerce, Paris; Serpentine Galleries, London; Stedelijk Museum Amsterdam; Tate, London; The Metropolitan Museum of Art, New York; and The Museum of Modern Art (MoMA), New York. French President Emmanuel Macron, France’s Minister of Culture Rachida Dati, and First Lady Brigitte Macron also visited Art Basel Paris at the Grand Palais.
Clément Delépine, Director of Art Basel Paris, said: ‘We worked on Art Basel Paris’ 2024 edition for over two years; seeing it come to life in such an extraordinary way in the heart of Paris has felt truly special. Our galleries, partners, collectors, and visitors have all contributed to the undeniable enthusiasm we have witnessed across the city, and I am immensely grateful for their support.’
What The Dealers Said:
“Back in the iconic Grand Palais this year, the excitement at Art Basel Paris was palpable. Collectors travelled from near and far, and significant sales were made. It felt like the Olympics of the art world.” – Xavier Hufkens, Owner & Founder, Xavier Hufkens (Brussels)
“The Grand Palais was a perfect home for Art Basel Paris and allowed the fair to showcase the museum-quality works and ambitions of the galleries in a new light. We were very happy with the positioning of our booth, the show’s seamless organisation, and the volume of the world’s top collectors. Sales were strong and consistent with major works in European, U.S., and Asian collections.” – Monika Sprüth & Philomene Magers, Co-owners, Sprüth Magers (Berlin, London, Los Angeles, New York, Hong Kong)
“This first edition of Art Basel Paris at the Grand Palais was remarkable, with major sales taking place in the fair’s first hours. We received collectors of the highest echelon worldwide who continued to purchase throughout the show week. With this new venue, Paris has reclaimed its well-deserved status as the world capital of art and culture.” Kamel Mennour, Founder, Mennour (Paris)
“We had a perfect first day, consolidated by additional significant sales on Thursday and Friday. We saw an infinitely stronger influx of international clients than last year.” Philippe Charpentier, Founder & Director, Mor Charpentier (Paris)
“Art Basel Paris is our best trade regarding sales, contacts, and encounters. We are pleased to have won the Fluxus Prize for British artist Jesse Darling, whose work was presented in our booth at the fair.” – Guillaume Sultana, Founder, Sultana (Paris)
“We participated at Art Basel Paris for the first time in the fair’s Emergence sector. Being part of this context offered us an incredible opportunity to be visible at the highest level of the art world – to the expert eyes of the most discerning curators, collectors, and dealers. It led to the first acquisition of our young artist, Xavier Robles de Medina, by a significant museum collection. These are the career and cultural goals Art Basel Paris can make happen.” – Catinca Tabacaru, Founder & Co-Director, Catinca Tabacaru (Bucharest)
“We were so excited to be showing at Art Basel Paris for the first time and loved the energy this week! The size of the fair was ideal, and we appreciated how our booth highlighted the unique and elegant architecture of the Grand Palais. We met some wonderful new collectors and engaged with many of our American collectors, who seemed always to love Paris.” Jack Shainman, Founder, Jack Shainman Gallery (New York, Kinderhook)
“Art Basel Paris was a remarkable success. The response to our focused presentation of four Surrealist artists was extraordinary. The fair attracted a high level of sophisticated and curious collectors, who were energised by Paris’s magnificent museum shows.” – Emmanuel Di Donna, Founder, Di Donna Galleries (New York)
“We couldn’t be happier with our first outing in Paris and the response to our solo presentation of paintings by Takako Yamaguchi. We quickly sold out our booth to a range of international collectors and started several promising conversations with European curators – two of our primary goals for the fair. Congratulations to the Art Basel team on a flawless week.” Ales Ortuzar, Founder, Ortuzar (New York)
“We’re thrilled to have been a part of the inaugural edition of the fair at the stunning Grand Palais. As a gallery with an outpost in London and many artists living throughout the region, Europe is a significant market for us to continue cultivating. As a first-time exhibitor, we’re very pleased to report that we placed several works with first-time U.S. and European buyers and met many new collectors, museum curators, and directors throughout the week. The fair also offered a new platform for us to both introduce new artists to the region and celebrate our artists with current and upcoming museum programming around Europe.” – Rachel Lehmann, Co-founder, Lehmann Maupin (New York, Seoul, London)
“The fair exceeded our expectations. We were very pleased to find that we had many new contacts from the VIP Days. We were actively engaged and talking about our program non-stop. We concluded sales and expect more to evolve. Being in the Grand Palais was, of course, a thrill, and Paris never disappoints. The reportage of a huge downturn is highly exaggerated, and there is much excitement and interest in art as ever – it is a cultural human necessity.” Wendy Olsoff, Co-founder, PPOW Gallery (New York)
“The Emergence sector at Art Basel Paris provided us with the unique opportunity to show an ambitious project by Steffani Jemison about the act of flight in such a unique, grand, and uncluttered location as the balconies of the Grand Palais. The artist was awarded the Lafayette Anticipations production grant, and we could not be happier!” Matteo Consonni, Owner and Director, Madragoa (Lisbon)
Emergence
“We were pleased to return for the first Art Basel Paris under the beautiful dome of the Grand Palais. The week was energising and successful and served as a counter to the narratives around a market slowdown in the media. We had the pleasure to meet with collectors from around the globe, both familiar and new, and to see many from back home in the U.S.” Jacqueline Tran, Senior Director, Matthew Marks Gallery (New York)
“We were thrilled by the positive reception of our exhibition of American and Asian artists, many of whom tap into the human universals of Indigenous culture. We had many productive conversations with European curators and placed works in collections in France and internationally.” – Jessica Silverman, Founder, Jessica Silverman (San Francisco)
“Yesterday, I was at the upcoming building of the Fondation Cartier; there is now a contemporary art scene in Paris that is the most beautiful in Europe and perhaps one of the most exciting in the world. And Art Basel Paris, thanks to the teams organising it, is perhaps also one of the most beautiful in the world. We gallerists will try to rise to the occasion; French galleries and the French scene must find their place. I am optimistic about what I saw at the fair.” Michel Rein, Founder, Michel Rein (Paris, Brussels)
“As the first Moroccan gallery participating in Art Basel Paris, this marks a significant milestone for our gallery and Moroccan and North African art. We are delighted by the highly positive and welcoming response from international collectors, institutions, curators, and visitors. Their engagement with Mohamed Melehi’s works led to two notable sales within the first two days, reinforcing the global relevance of his art. As we continue to act as a bridge between Morocco, the African continent, and the rest of the world, the platform provided by Art Basel Paris, and particularly its strong attendance, strengthens our commitment to elevating voices from the continent and bringing them to the forefront of the international art scene.” – Yasmine Berrada, Co-founder, Loft Art Gallery (Casablanca, Marrakesh)
“We were very happy to participate and present Pierre Alain’s work at Art Basel Paris, placing his work in great collections and connecting with institutions.” Julius Woeste, Founder, Petrine (Paris) *Emergence
“Art Basel Paris was an ideal moment in Tschabalala Self’s career to present her work in a solo exhibition at a major international art fair. We sold all the pieces on the first day, placing many in important museums and collections in Europe, the U.S., and Asia. It was a valuable opportunity to present the breadth of Schabalala’s artistic vision and the important political themes in her work to a diverse audience from France and beyond.” – Eva Presenhuber, Owner, Galerie Eva Presenhuber (Zurich, New York, Vienna)
“We were thrilled with our first time participating in the emergency sector at Art Basel Paris. We were very proud to present alongside amazing international galleries of such high calibre. The response Bruno Zhu’s work received from collectors and visitors at the fair exceeded our expectations. The return to the Grand Palais promised excitement and did not disappoint. Art Basel Paris is the place to be!” – Alivia Zivich & Daniel Sperry, Co-founders, What Pipeline (Detroit)
“The reopening of the Grand Palais generated excitement among international collectors and the general public. Although collectors are less likely to travel these days, many American, Asian, and European clients showed up for Art Basel Paris. In the current climate, we’re satisfied with the fair’s results.” – Almine Rech, Founder, Almine Rech (Paris, Brussels, London, New York, Shanghai, Monaco)
“As Art Basel launched its Paris edition at the iconic Grand Palais, the gallery was thrilled to present the unique worlds of our artists within their rich artistic and cultural contexts alongside fellow international galleries. Many international collectors displayed interest in masters of the Dansaekhwa movement, such as Lee Ufan, Park Seo-Bo, and Ha Chong-Hyun, some of whom were placed in private collections. Additionally, contemporary Korean artists currently active in Europe, including Haegue Yang, Kyungah Ham, and Kibong Rhee, also received interest. The cultural power of the French capital, with its collaboration with Art Basel, created a feeling of artistic vitality that is unlike anything else.” Hyun-Sook Lee, Founder & Chairwoman, Kukje Gallery (Seoul, Busan)
“We placed all the paintings we brought during the Preview Days, with works sold to new collectors. The fair was energetic and dynamic, and we felt privileged to participate.
This marked a good start, as we had many more dialogues with the international art community.” Jun Tirtadji, Director, ROH Projects (Jakarta)
“We are honoured to be part of the main section for the first time and very pleased with the wonderful visibility it has given our artists. Agnes Scherer’s Lit de Sirène has received a lot of attention, and several articles mention the work as one of the highlights of the fair, which is a great source of pride. We had outstanding sales on the first day. The weekend went very well, bringing in a different audience and a different type of buyer.” Marie Madec, Founder & Director, sans titre (Paris)
« Dans un contexte compliqué, nous avons souhaité nous recentrer autour de nos artistes historiques avec des pièces exceptionnelles notamment une installation de Sheila Hicks et ce fut un succès. Nous avons été enchantés par la réception commerciale du stand et en particulier celle de Kenjiro Okazaki. Nous sommes tellement heureux de retrouver cet écrin exceptionnel du Grand Palais. »
“In a complicated context, we decided to refocus on our historical artists with exceptional pieces, notably an installation by Sheila Hicks, and this was a great success. We were delighted by the commercial success of the booth, particularly that of Kenjiro Okazaki. We’re so happy to be back in this exceptional setting at the Grand Palais.” Frank Elbaz, Founder & Director, Frank Elbaz (Paris)
“In three years, the Art Basel team has succeeded in putting the Parisian destination and the October event back at the centre of the art world calendar. The programming of public and private institutions and the remarkable year-round work of the key players – Parisian galleries – have enabled us to shine again. Foreign collectors and museums seem taken with this rich, high-quality offering. The city’s ability to welcome this public and delight them with its hotel and gastronomic offerings also seems to be a major asset. The level of transactions during the week showed that the art world had forgotten the surrounding crises. Isn’t one of the roles of art to make us dream?” Hervé Loevenbruck, Founder & Director, Loevenbruck (Paris)
Art Basel Paris took place from October 18-20, 2024, with VIP Days on October 16 and 17. The 2025 edition will take place from October 17-19.
Premise
The newly introduced Premise sector was dedicated to highly singular projects that may include work created before 1900. Premise provides a platform for presentations that broaden our understanding of the conventional art historical canon, focusing on compelling yet little-known artistic practices. The sector’s inaugural edition will feature nine galleries, all newcomers to the fair. The nine presentations are A group of photographs by Gerhard Richter (b. 1932) and Sigmar Polke (1941–2010) – two German postwar artists who are not primarily known for their photographic works but have used the medium to experiment with vision. The presentation by Sies + Höke (Düsseldorf)
Emergence
Emergence, Art Basel Paris’ sector dedicated to the radical work of emerging talents and new voices, was previously known as Galeries Émergentes. It will showcase 16 impressive solo booth presentations. Fourteen Emergence exhibitors are participating in Art Basel’s Paris fair for the first time. The Galeries Lafayette group is the Official Partner of Emergence.
Parvis de l’Institut de France
Niki de Saint Phalle, L’Arbre-Serpents (1988) Presented by Galerie Mitterrand (Paris) Realised in collaboration with the City of Paris.
For its 2024 Public Program on the Parvis de L’Institutl’Institut de France—the square in front of the 17th-century building housing all five French academies—Art Basel will present L’Arbre-Serpents (1988), a significant sculpture by the French-American artist Niki de Saint Phalle (1930-2002).
Conceived initially as a fountain, the work depicts a dozen intertwined snakes, entirely covered in mirror and glass mosaic – a technique de Saint Phalle came to be mainly known for. Measuring 3.15 meters, it will sit at the centre of the Parvis de l’Institut de France, reflecting the direct light of the sun and its reflection on the nearby Seine, creating a dazzling and colourful experience for visitors. The artist started incorporating snakes in her work in the 1960s and considered them her spirit animal; indeed, she was fascinated by their ambivalent nature, as both a symbol of sin and medicine, danger and protection and as an embodiment of her fears and power.
Niki de Saint Phalle, L’Arbre-Serpents (detail), 1988. Courtesy of Galerie Mitterand.
John Chamberlain, Jean Prouvé, and Yayoi Kusama Realised this in collaboration with the City of Paris.
The Avenue Winston-Churchill, where the Grand Palais is located, will be transformed into a pedestrian area for the fair, welcoming three monumental artworks. The area will, therefore, become a convivial zone of encounter for the public, creating a seamless connection with the Petit Palais, where further Art Basel initiatives will unfold.
Pouce (1965 / 1988), by French artist César (1965–1998), is a 3.5-meter-high bronze sculpture depicting the artist’s thumb, which he cast and reproduced in various materials and sizes throughout his career. The project is presented by Almine Rech (Paris, Brussels, London, New York, Shanghai).
Gold Rush (2006) by seminal British land artist Richard Long (b. 1945) is a sculpture of dozens of rocks sourced by Long in California’s Sierra Nevada mountains, laid directly onto the ground. The sculpture starkly contrasts the Palais-Royal’s gilded architecture. The project is presented by Sperone Westwater (New York).
A group of five bronze sculptures by Chilean artist Roberto Matta (1911-2002) was realised throughout the 1990s. Conceived as totems combining Matta’s interest in Incan, Mayan, and Mediterranean
Cour de l’Hôtel de la Marine Takis, Aeolian, 1986 Presented by White Cube (London, Hong Kong, New York, Seoul) Realised in collaboration with the Centre des Monuments Nationaux (CMN)
The Hôtel de la Marine’s grand inner courtyard will welcome Aeolian (1986), a kinetic sculpture by the late Greek artist Takis (1925-2019).
Takis’s work refers to ancient Greek Aeolian harps; instruments meant to be played by the wind. At 5 meters high, it will be one of the most enormous sculptures exhibited in this year’s Art Basel Paris Public Program. The work consists of a central iron pillar on top of which two polystyrene orbs are mounted, akin to a primitive radar. A self-taught artist, Takis became a leading figure of kinetic art in the 1960s, creating a wide variety of works, some of which also included electromagnets and salvaged materials. Built in the second half of the 18th century for French king Louis XV, the majestic Hôtel de la Marine was initially conceived as the ‘Garde-Meuble de la Couronne’, the organisation in charge of managing the sovereign’s art collection, furniture, and holdings across his royal palaces. Its gilded salons and rooms can nowadays be visited by the public, as well as houses, among others, the prestigious Al Thani Collection.
Takis’s Aeolian (1986) will be on view from October 8 to November 9, from 8 a.m. to 1 a.m. daily. This will be the first time Art Basel has presented a work at the Hôtel de la Marine in collaboration with the Centre des Monuments Nationaux.
Hôtel de Sully
Lynn Chadwick: Hypercycle / Chapitre I: Scalène. 1947-1962 Curated by Matthieu Poirier
Exhibition presented by Perrotin (Paris, Hong Kong, Los Angeles, New York, Séoul, Shanghai, Tokyo) and the Centre des Monuments Nationaux (CMN). This exhibition, unfolding across two sites in Paris, is the first in an overview of the career of British sculptor Lynn Chadwick (1914-2003), proposed by art historian Matthieu Poirier and structured across three chronological chapters. The exhibition will occur from 2024 to 2026 across three continents and numerous venues.
This first section, entitled ‘Scalene. 1947-1962′, takes place in the outdoor spaces at the headquarters of the Centre des monuments nationaux, at the Hôtel de Sully, and extends to the interior spaces of the nearby Perrotin gallery. The first major exhibition dedicated to Chadwick in France since the Musée National d’Art Moderne’ exhibition in Paris in 1957, this project brings together nearly 60 works created by the artist between 1947 and 1962, a period in which his sculptural oeuvre started to be noticed internationally, not least thanks to the International Grand Prix for Sculpture at the Venice Biennale in 1956. The British sculptor is renowned for his ‘beasts’ and other hybrid creatures with spindly limbs, at once angular, dynamic and irregular, reflecting his interest in architecture and the work of Charles Darwin. After a period in which Chadwick focused on mobiles (1947-1952), he began working on bronzes, many of which take on the appearance of couples or solitary beings, mysterious and skeletal, whose geometric sections and lack of enveloping roundness evoke origami, armours, or even fossils. In almost 150 public collections worldwide, Lynn Chadwick can be considered the missing link between Alberto Giacometti and Louise Bourgeois.
The exhibition will be on view at both venues from October 12 to November 16, 2024, from 10 a.m. to 7 p.m., except Sundays and Mondays at Perrotin.
The Petit Palais, a magnificent building opposite the Grand Palais and built on the occasion of the 1900 Universal Exhibition in Paris, hosted a project by Turner-Prize-winning British artist Jesse Darling (b. 1981). In addition, the Petit Palais will host Art Basel Paris’s Conversations program, curated for the third year by Paris-based curators
The Musée national Eugène-Delacroix, dedicated to French romantic painter Eugène Delacroix (1798–1863), welcomed a project by Lebanese artist Ali Cherri (b. 1976). This was the second time Art Basel has collaborated with the Musée national Eugène-Delacroix and Musée du Louvre for an exhibition at the venue after a show of sculptures by Thaddeus Mosley in 2022.
The Jardin des Tuileries – Domaine National du Louvre, which welcomed curated exhibitions as part of Art Basel’s Public Program in 2022 and 2023, will be under refurbishment after the Paris Olympics and will not host any projects this year. However, Art Basel and the Musée du Louvre look forward to once again staging a project in the garden in 2025, to be curated by Mouna Mekouar. A project by Ali Cherri. Courtesy of the artist and Almine Rech.
Yayoi Kusama, PUMPKIN (L), 2014. Exhibition view ‘My Soul Blooms Forever ‘, Museum of Islamic Art, Doha, 2022. Photo: Raviv Cohen. © YAYOI KUSAMA. Courtesy of David Zwirner, Ota Fine Arts, and Victoria Miro.
Conversations
Art Basel Conversations took place for the first time in the Petit Palais, located in front of the Grand Palais, and will be curated for the third year by Paris-based curators Pierre Alexandre Matéosand Charles Teyssou. The flagship talk series will feature 11-panel discussions in English and French.
Founded in 1970 by gallerists from Basel, Art Basel today stages the world’s premier art shows for Modern and contemporary art, sited in Basel, Miami Beach, Hong Kong, and Paris. Defined by its host city and region, each show is unique. It is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition. Art Basel’s engagement has expanded beyond art fairs through new digital platforms and initiatives such as the Art Basel and UBS Global Art Market Report. Art Basel’s Global Media Partner is the Financial Times. For further information, please visit artbasel.com.
