ART BASEL PARIS 2025

Presentation features work by Matthew Barney, Karen Kilimnik, Philippe Parreno, Richard Prince, Robert Rauschenberg, Peter Saul, Andro Wekua, Joseph Yaeger, and other artists from the gallery’s roster.

Gladstone Gallery returns to Art Basel Paris, with a group presentation comprising new, recent, and historic works by artists spanning the gallery’s dynamic program. Centering the stand is Alexander Calder’s Caged Stone on Yellow Stalk (@ABB), a standing mobile that embodies Calder’s playful wit, structural ingenuity, and timeless visual poetry. Additional highlights include new works by Andro Wekua, and Joseph Yaeger, alongside works by Matthew Barney and Karen Kilimnik. The presentation also features historical examples by Richard Prince and Robert Rauschenberg, as well as Peter Saul, of whom Gladstone recently announced representation. Art Basel Paris is open to the public from Friday, October PQ, through Sunday, October PR, with private previews on Wednesday, October PP, and Thursday, October PS.

As part of the fair’s public program Gladstone is co-presenting Ugo Rondinone’s monumental sculpture the innocent (PVPQ) in the forecourt of the Institut de France, on view from October @X through October PY. Rondinone’s the innocent reflects the artist’s integrated approach to artmaking and suggests the infinity of anonymous lives sacrificed to centralised power and territorial ambition in the name of civilisation. The Paris-based painter Jill Mulleady is also holding a special open studio and cocktails, co-hosted by Gladstone in collaboration with Galerie Neu, on Wednesday, October PP, from 5–8pm. Visits may also be scheduled by appointment on Thursday, October PS, and Friday, October PQ, between 12–6pm.

Caged Stone on Yellow Stalk features a network of wire extensions, terminating in small painted circular disks and counterbalanced by a granite-like stone in a wire mesh cage, sits atop a yellow rod that curves up from the floor. The yellow rod, or ‘stalk’, remains stable while the other elements of the mobile turn and rotate with the movement of the air around them. Traces of the artist’s hand are visible throughout the work, and the various elements display uneven coloration and texture resulting from Calder’s manual cutting and filing of the pieces. The tiny coils of wire recall the artist’s fanciful circus scenes and the toys he would fashion as gifts for his grandchildren and friends.