ART BASEL IN BASEL 2026

‘How to give body to what must not have any? How to make paintings float in a vibrantyet absent space?’ Asks Martine Bedin. ‘By proceeding through substraction, likescientists, by deduction, removing everything that doesn’t work: too decorative, toocolourful, too ‘fashionable’, too event-driven, too artistic—yet not minimalist either.This is an achievement that has an invisible thickness, a vibrant density, an absence ofcontours, a filtered colour, somewhat like a cloud, or fog.’

The scenography is structured around an orange wall covered with transparentcurtains which folds shape the space and alter the perception of the works onview. The works are hung on picture rails integrated into the scenographicdisplay. A T-shaped wall structure is erected at the center of the booth to guidethe visitor’s circulation and reinforce the spatial effect envisioned by MartineBedin.

Conceived as a shift from the white cube model, the project explores thepossibility of a domestic environment, where colour, texture, and spatial intimacyredefine the relationship to the artworks via a strong architectural gesture.

Within this environment, Crèvecœur presents a selection of works by YasushiAmano, Martine Bedin, Sol Calero, Brett Goodroad, Inès di Folco Jemni, ErnstYohji Jaeger, Tomasz Kowalski, Yu Nishimura, Alexandra Noel, Autumn Ramsey,Emma Reyes and Louise Sartor.