Over its thirteen editions, Art Genève has steadily secured its place within the broad art fair circuit, opting for a more intimate scale than Art Basel, while preserving its international reach. With eighty-one galleries participating, this year’s edition upholds its reputation for offering a meticulously curated selection, showcasing works of considerable historical and aesthetic significance, ranging from modern to contemporary art.
Among the most notable presentations, the London-based gallery Waddington Custot stands out with a selection that includes works by Jean Arp, Jean Dubuffet, Hans Hartung, and a series of paintings by Sam Szafran, each depicting intimate, poetic interior spaces. Equally noteworthy is the participation of Zurich’s Larkin Erdmann Gallery, which, in addition to showcasing works by artists such as Alighiero Boetti and Max Bill, presented On Kawara’s I Got Up (1968–79), a series of postcards sent daily by the artist, in which the date, location, and time of dispatch serve as visible traces of a lived moment, meticulously marked in an almost ritualistic manner.
The delicate blue tones of Ugo Rondinone’s latest series, “Cry Me a River” (2024), catch the eye at Galerie Eva Presenhuber, where it is displayed alongside works by Karen Kilimnik, Liesl Raff, Sue Williams, and Louisa Gagliardi. Additionally, the fair presents a striking selection of contemporary painting: Contemporary Fine Arts from Berlin showcases large-scale works by Japanese artist Maki Na Kamura, which blend figuration and abstraction, while the paintings of Sophie Esslinger, an emerging Austrian artist born in 1996, stand out for their bold brushstrokes and exploration of the dynamics between form and color, bringing a renewed energy to the medium.
Among the booths, unexpected cameos emerge, such as the abstract paintings of Bice Lazzari, a pivotal figure in Italian abstraction of the twentieth century. Her works are presented by Richard Saltoun Gallery, which this year was awarded the Prix Solo for the best solo exhibition, dedicated to the vibrant-hued paintings of Algerian artist Baya. A key strength that enhances the cultural profile of the fair is its dialogue with local and international institutions.
The booths of the Centre d’Art Contemporain, MAMCO, and the Musée d’Art et d’Histoire seamlessly integrate into the selection of galleries, reinforcing the fair’s position as a significant hub in the contemporary art landscape. CAC celebrates its origins by presenting a selection of photographs by Franz Egon von Fürstenberg, taken during his collaboration with his wife, Adelina von Fürstenberg, the pioneering curator who founded the institution in 1974 as the first contemporary art institution in Geneva. The images document artists in the act of creation, captured during the installation and contemplation of their work. Among the featured figures are Andy Warhol, Marina Abramović, and Daniel Buren, portrayed in the intimate, spontaneous moments of their process, offering a glimpse into the energy of the 1960s and 1970s artistic movements, such as Pop art and Fluxus, and the creative ferment that also permeated Geneva. As is the case every year, the MAMCO’s involvement brought a performative dimension to the fair through its “In Course of Acquisition” project, a strategic initiative that expands the museum’s collection. Over the five days of Art Genève, the booth, initially empty, gradually filled with new acquisitions, including Work C.249 (1965), a refined oil painting by Masaaki Yamada (1929–2010), a notable example of postwar Japanese abstract painting. Meanwhile, the Musée d’Art et d’Histoire (MAH) used its space to present Aristocrate allobroge (c. 80 BC) and Elisabeth-Louise Vigée-Lebrun’s Portrait de Germaine de Staël en Corinne au Cap Misène (1808–9), two works that form part of Carol Bove’s “La Genevoise,” an installation specifically created for the museum, establishing a dialogue with works in the collection.
The participation of Geneva’s cultural institutions in the fair also provides an opportunity to discover the city’s upcoming cultural initiatives. Notably, the Fondation Plaza is promoting ephemeral cinema in anticipation of its Plaza Centre Cinéma opening in 2026, a complex featuring a cinema hall, exhibition spaces, and an immersive room. The project includes video excerpts from artists like Tracey Emin, Jean Genet, and Luca Guadagnino. Furthermore, this edition gains additional depth through the participation of national and international institutions. For example, the Musée des Beaux-Arts de Le Locle presents works by Koenraad Dedobbeleer, created in close dialogue with its collection. From Germany, the Sammlung Scharf-Gerstenberg in Berlin contributes a selection of Surrealist masterpieces. Another significant contribution comes from the Cranford Collection, whose exhibition “Crash” combines works by Albert Oehlen, Christopher Wool, Maria Lassnig, Bruce Nauman, and Sarah Lucas.
The cultural horizon of the fair is further enriched by a series of exhibitions within and off Art Genève, offering an intriguing perspective on contemporary artistic dynamics. This includes the second edition of “Sur-Mesure,” curated by Nicolas Trembley, presenting six videos dedicated to the theme of food. The selection features works by Gordon Matta-Clark, Jasmine Gregory (One Time Shot, 2024), Paul McCarthy (Heinz Ketchup Sauce, 1974), and Will Benedict and Steffen Jørgensen (The Restaurant, 2021–24).
At MAH, with her site-specific installation “La Genevoise,” Carol Bove draws on the Duchampian ready-made in a sophisticated manner, shifting the focus from the centrality of the object to the perceptual dynamics at play through a “reversal of the gaze.” In doing so, Bove reactivates the museum’s collection, spanning 15,000 years of history by reconfiguring the space itself. Through a tactile and visual dialogue between white panels and black steel modules, she introduces a clivage that disorients the perception of time and space. This interaction invites the viewer to question the museum’s codes, subtly altering their relationship with the artwork. Additionally, the careful arrangement of solids and voids introduces a rhythmic balance into the space, guiding the viewer’s experience and further challenging conventional notions of temporality and spatiality within the museum.
“Rituals of Care,” the first European retrospective dedicated to Antonio Obá, presented at CAC, offers a nuanced exploration of his artistic practice, seamlessly blending installations and paintings. His canvases, distinguished by their vibrant colors and tactile materiality, invite the viewer into a deeply personal realm. Echoing Gilbert Durand’s concept of imagination as a curative force, the exhibition highlights Obá’s authentic approach — one shaped outside conventional institutional frameworks — and creates a space where memory and reinvention coexist, evoking a robust dialogue between past and present.
Art Genève reaffirms its credibility within the international art fair circuit, presenting a nuanced view of contemporary trends while fostering a dynamic dialogue between art and its audience. The fair effectively balances quality and accessibility, attracting seasoned collectors and a broader public. This year’s edition further solidified its position as a leading platform, providing a space for artistic excellence and meaningful collaboration with institutions.
