Last Tango

Siren Songs / Sinister Sirens

Exhibition
12.06.23 – 27.10.23

Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Siren Songs / Sinister Sirens, Installation view, 2023. Photo: Kilian Bannwart
Left: Marlene McCarty, Untitled (Bend Over Become Salvation), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Right: Mitchell Anderson, Join (the Great Peace March (Keith Haring, 1986)), 2023, Neon, glass, 55 x 130 cm. Photo: Kilian Bannwart
Left: Marlene McCarty, Untitled (Bend Over Become Salvation), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Right: Mitchell Anderson, Join (the Great Peace March (Keith Haring, 1986)), 2023, Neon, glass, 55 x 130 cm. Photo: Kilian Bannwart
Left: Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022. Middle:
Left: Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022. Middle:
Left: Sam Porritt, Springing Traps, 2021. Middle: Sam Porritt, Lying in Weight, 2019. Right: Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022. Photo: Kilian Bannwart
Left: Sam Porritt, Springing Traps, 2021. Middle: Sam Porritt, Lying in Weight, 2019. Right: Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022. Photo: Kilian Bannwart
Left: Vittoria Santoro, Memories of a Bird (Rear-View Mirror), II, 2020, Bronze casting of a Wood Plank, Silk ribbons, Hemp string, Vintage rear-view Mirror mounted n wall, Pencil in wall, ca. 170 x 179 x 95 cm. Right: Marlene McCarty, Untitled (Bend Over Become Salvation), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Photo: Kilian Bannwart
Left: Vittoria Santoro, Memories of a Bird (Rear-View Mirror), II, 2020, Bronze casting of a Wood Plank, Silk ribbons, Hemp string, Vintage rear-view Mirror mounted n wall, Pencil in wall, ca. 170 x 179 x 95 cm. Right: Marlene McCarty, Untitled (Bend Over Become Salvation), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Photo: Kilian Bannwart
Left: Sam Porritt, Procession, 2021. Middle: Fiona Banner aka The Vanity Press, B o n e s, 2002. Right: Fiona Banner aka The Vanity Press, Avenir, 2018. Photo: Kilian Bannwart
Left: Sam Porritt, Procession, 2021. Middle: Fiona Banner aka The Vanity Press, B o n e s, 2002. Right: Fiona Banner aka The Vanity Press, Avenir, 2018. Photo: Kilian Bannwart
Nicole Bachmann, shell of hope, in cycles, 2022, Performance Documentation, 29.43 min. Photo: Kilian Bannwart
Nicole Bachmann, shell of hope, in cycles, 2022, Performance Documentation, 29.43 min. Photo: Kilian Bannwart
Left: Nicole Bachmann, shell of hope, in cycles, 2022. Middle: Sam Porritt, Springing Traps, 2021. Right: Sam Porritt, Lying in Weight, 2019. Photo: Kilian Bannwart
Left: Nicole Bachmann, shell of hope, in cycles, 2022. Middle: Sam Porritt, Springing Traps, 2021. Right: Sam Porritt, Lying in Weight, 2019. Photo: Kilian Bannwart
Nicole Bachmann, shell of hope, in cycles, 2022, Performance Documentation, 29.43 min. Photo: Kilian Bannwart
Nicole Bachmann, shell of hope, in cycles, 2022, Performance Documentation, 29.43 min. Photo: Kilian Bannwart
Left: Sam Porritt, Springing Traps, 2021, Brush and Ink on Paper, 70x 100. Right: Sam Porritt, Lying in Weight, 2019,Brush and Ink on Paper, 50 x 65 cm.
Left: Sam Porritt, Springing Traps, 2021, Brush and Ink on Paper, 70x 100. Right: Sam Porritt, Lying in Weight, 2019,Brush and Ink on Paper, 50 x 65 cm.
Nicole Bachmann, shell of hope, in cycles, 2022, Performance Documentation, 29.43 min. Photo: Kilian Bannwart
Nicole Bachmann, shell of hope, in cycles, 2022, Performance Documentation, 29.43 min. Photo: Kilian Bannwart
Sam Porritt, Springing Traps (detail), 2021, Brush and Ink on Paper, 70x 100. Photo: Kilian Bannwart
Sam Porritt, Springing Traps (detail), 2021, Brush and Ink on Paper, 70x 100. Photo: Kilian Bannwart
Sam Porritt, Lying in Weight (detail), 2019,Brush and Ink on Paper, 50 x 65 cm. Photo: Kilian Bannwart
Sam Porritt, Lying in Weight (detail), 2019,Brush and Ink on Paper, 50 x 65 cm. Photo: Kilian Bannwart
Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022, Two white mirror panels, one with its silver coating partially scraped off, Pencil on Wall and on the back of the mirror, 36 x 32 x 0.6 cm. Photo: Kilian Bannwart
Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022, Two white mirror panels, one with its silver coating partially scraped off, Pencil on Wall and on the back of the mirror, 36 x 32 x 0.6 cm. Photo: Kilian Bannwart
Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022, Two white mirror panels, one with its silver coating partially scraped off, Pencil on Wall and on the back of the mirror, 36 x 32 x 0.6 cm. Photo: Kilian Bannwart
Vittorio Santoro, A Clear Scraped Mirror (Le miroir; Le psychopathe; La normalité), 2022, Two white mirror panels, one with its silver coating partially scraped off, Pencil on Wall and on the back of the mirror, 36 x 32 x 0.6 cm. Photo: Kilian Bannwart
Bruce Naumann, Human Need Drain, 1983, Pencil, Charcoal and Watercolor on Paper, ca. 217 x 202 cm Baloise Corporate Collection. Photo: Kilian Bannwart
Bruce Naumann, Human Need Drain, 1983, Pencil, Charcoal and Watercolor on Paper, ca. 217 x 202 cm Baloise Corporate Collection. Photo: Kilian Bannwart
Bruce Naumann, Human Need Drain (detail), 1983, Pencil, Charcoal and Watercolor on Paper, ca. 217 x 202 cm Baloise Corporate Collection. Photo: Kilian Bannwart
Bruce Naumann, Human Need Drain (detail), 1983, Pencil, Charcoal and Watercolor on Paper, ca. 217 x 202 cm Baloise Corporate Collection. Photo: Kilian Bannwart
Marlene McCarthy, Hearth (Pit Stop), 1992 / 2023, ca. 10’000 Printed Matchbooks, dimensions variable. Photo: Kilian Bannwart
Marlene McCarthy, Hearth (Pit Stop), 1992 / 2023, ca. 10’000 Printed Matchbooks, dimensions variable. Photo: Kilian Bannwart
Marlene McCarthy, Hearth (Pit Stop) (detail), 1992 / 2023, ca. 10’000 Printed Matchbooks, dimensions variable. Photo: Kilian Bannwart
Marlene McCarthy, Hearth (Pit Stop) (detail), 1992 / 2023, ca. 10’000 Printed Matchbooks, dimensions variable. Photo: Kilian Bannwart
Vittorio Santoro, Memories of a Bird (Rear-View Mirror), II, 2020, Bronze casting of a Wood Plank, Silk ribbons, Hemp string, Vintage rear-view Mirror mounted on wall, Pencil on wall, ca. 170 x 179 x 95 cm. Photo: Kilian Bannwart
Vittorio Santoro, Memories of a Bird (Rear-View Mirror), II, 2020, Bronze casting of a Wood Plank, Silk ribbons, Hemp string, Vintage rear-view Mirror mounted on wall, Pencil on wall, ca. 170 x 179 x 95 cm. Photo: Kilian Bannwart
Vittorio Santoro, Memories of a Bird (Rear-View Mirror), II (detail), 2020, Bronze casting of a Wood Plank, Silk ribbons, Hemp string, Vintage rear-view Mirror mounted on wall, Pencil on wall, ca. 170 x 179 x 95 cm. Photo: Kilian Bannwart
Vittorio Santoro, Memories of a Bird (Rear-View Mirror), II (detail), 2020, Bronze casting of a Wood Plank, Silk ribbons, Hemp string, Vintage rear-view Mirror mounted on wall, Pencil on wall, ca. 170 x 179 x 95 cm. Photo: Kilian Bannwart
Marlene McCarthy, Untitled (Bend Over Become Salvation), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Photo: Kilian Bannwart
Marlene McCarthy, Untitled (Bend Over Become Salvation), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Photo: Kilian Bannwart
Marlene McCarthy, Untitled (Bend Over Become Salvation) (detail), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Photo: Kilian Bannwart
Marlene McCarthy, Untitled (Bend Over Become Salvation) (detail), 1993, Heat Transfer on Canvas, 198 x 152 cm Private collection, Switzerland. Photo: Kilian Bannwart
Mitchell Anderson, Join (the Great Peace March (Keith haring, 1986)), 2023, Neon, glass, 55 x 130 cm. Photo: Kilian Bannwart
Mitchell Anderson, Join (the Great Peace March (Keith haring, 1986)), 2023, Neon, glass, 55 x 130 cm. Photo: Kilian Bannwart
Mitchell Anderson, Join (the Great Peace March (Keith haring, 1986)), 2023, Neon, glass, 55 x 130 cm. Photo: Kilian Bannwart
Mitchell Anderson, Join (the Great Peace March (Keith haring, 1986)), 2023, Neon, glass, 55 x 130 cm. Photo: Kilian Bannwart
Sam Poritt, Procession, 2021, Pigment Ink, Screws, Tung Oil, Plywood, 16 x 174 x 22.5 cm. Photo: Kilian Bannwart
Sam Poritt, Procession, 2021, Pigment Ink, Screws, Tung Oil, Plywood, 16 x 174 x 22.5 cm. Photo: Kilian Bannwart
Sam Poritt, Procession (detail), 2021, Pigment Ink, Screws, Tung Oil, Plywood, 16 x 174 x 22.5 cm. Photo: Kilian Bannwart
Sam Poritt, Procession (detail), 2021, Pigment Ink, Screws, Tung Oil, Plywood, 16 x 174 x 22.5 cm. Photo: Kilian Bannwart
Fiona Banner aka The Vanity Press, B o n e s, 2002, Graphite in Paper under Smashed Glass, 80 x 100 cm Burger Collection, Hong Kong. Photo: Kilian Bannwart.
Fiona Banner aka The Vanity Press, B o n e s, 2002, Graphite in Paper under Smashed Glass, 80 x 100 cm Burger Collection, Hong Kong. Photo: Kilian Bannwart.
Fiona Banner aka The Vanity Press, B o n e s (detail), 2002, Graphite in Paper under Smashed Glass, 80 x 100 cm Burger Collection, Hong Kong. Photo: Kilian Bannwart
Fiona Banner aka The Vanity Press, B o n e s (detail), 2002, Graphite in Paper under Smashed Glass, 80 x 100 cm Burger Collection, Hong Kong. Photo: Kilian Bannwart
Fiona Banner aka The Vanity Press, B o n e s (detail), 2002, Graphite in Paper under Smashed Glass, 80 x 100 cm Burger Collection, Hong Kong. Photo: Kilian Bannwart.
Fiona Banner aka The Vanity Press, B o n e s (detail), 2002, Graphite in Paper under Smashed Glass, 80 x 100 cm Burger Collection, Hong Kong. Photo: Kilian Bannwart.
Fiona Banner aka The Vanity Press, Avenir, 2018, Oil on Wood, 18 x 27 cm Burger Collection, Hong Kong. Photo Kilian Bannwart
Fiona Banner aka The Vanity Press, Avenir, 2018, Oil on Wood, 18 x 27 cm Burger Collection, Hong Kong. Photo Kilian Bannwart
Fiona Banner aka The Vanity Press, Avenir, 2018, Oil on Wood, 18 x 27 cm Burger Collection, Hong Kong. Photo Kilian Bannwart
Fiona Banner aka The Vanity Press, Avenir, 2018, Oil on Wood, 18 x 27 cm Burger Collection, Hong Kong. Photo Kilian Bannwart

Artists
Bruce Nauman, Marlene McCarty, Mitchell Anderson, Nicole Bachmann, Sam Porritt, Vittorio Santoro, Fiona Banner aka The Vanity Press

Curators
Arianna Gellini, Linda Jensen

Location

Art Forum Baloise Park
Aeschengraben 33
4051 Basel
Switzerland
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Website
https://www.lasttango.info

Published on: 30.11.23