At the start of each year, the art world enters a state of excitement, marked by new exhibitions, countless openings, and a myriad of fairs. Held at the Palexpo Genève from January 30 to February 2, 2025, the 13th edition of Art Genève was one of the unmissable events of the season.
Directed by Charlotte Diwan, the 2025 edition of Art Genève featured 103 booths, including 81 galleries specializing in modern and contemporary art, and 22 institutional projects. What sets this fair apart is undoubtedly its approach that combines intimacy with internationality, while remaining anchored in Geneva’s cultural dynamism.
Templon offered a welcome nod to the Venice Biennale with one of the pastel-toned panels from Alioune Diagne’s fresco. Alongside the representative from the Senegal Pavilion 2024, new works by Chiharu Shiota (“State of Being (House)”, 2024), and Abdoulaye Konaté (“Bleu aux Triangles”, 2024) were on display. The Italian Galleria Poggiali and its team of enthusiasts immersed us in the hypnotic universe of the contemporary Italian artist Claudio Parmigiani’s panels of smoke and ashes (“Senza Titolo”, 2018, and “Senza Titolo”, 2019).
Senza titolo, Claudio Parmiggiani, 2019. Galleria Poggiali. Photo by Stéphanie Courtines
Among the Swiss galleries present, Geneva-based Olivier Varenne delighted visitors with Jean Tinguely’s installation “Deng Xiaoping III” (1989), whose mechanical energy resonated with John Armleder’s “Hededypnosis Cretica” (2023). At Simon Studer Art, three geometric oil paintings by Victor Vasarely conversed with “Will Skulptur Werden Rot” (1983–1984) by Franz Erhard Walter, an imposing three-meter-long red cotton textile sculpture.
Will Skulptur Werden Rot, Franz Erhard Walter, 1983–1984. Simon Studer Art. Photo by Stéphanie Courtines
While some focused on the energy and dialogue between forms and materials, others opted to create spaces conducive to contemplation. This was the case with Galerie Eva Presenhuber, which presented a solo show by Ugo Rondinone. Two small tricolored sculptures from the “Mountain” series and seven blue paintings from the “Mountain Lake Landscape” series stood out for their intimate connection to nature, offering a moment of calm amidst the fair’s hustle and bustle.
Siebzehnterdezemberzweitausendundvierundzwanzig, Ugo Rondidone, 2024. Galerie Eva Presenhuber. Photo by Stéphanie Courtines
A few meters away, the FMAC (Collection d’Art Contemporain de la Ville de Genève) exhibited a selection of the works it acquired in 2024. Among them, “CXLIX (Light Drawings Series)” (2023) by Anne Blanchet stands out for its subtle exploration of light and transparency. The FCAC (Fond Cantonal d’Art Contemporain), for its part, displayed a masterfully tentacular work “We’re that Little Extra Spice that Makes Existence Extra Nice” by Emmanuelle Lainé.
But what truly made this year’s edition of Art Genève a must-attend event was “Drawing Modernity” presented by the Fondation Gandur. Curated by Bertrand Dumas, the exhibition invited visitors to rediscover powerful and rare works from the interwar period. Drawings by Le Corbusier, Amédée Ozenfant, Auguste Herbin and Léon Tutundjian were brought together in a scenography that was both sleek, coherent, and original. The exhibition elegantly revealed the search for rationality and geometric innovation characteristic of the era, while highlighting the influence of machinism on modern art.
Nature Morte Puriste à la Carafe et au Pichet Bleu, Amédée Ozenfant, 1923. Fondation Gandur pour l’Art. Photo by André Morin
Composition, Auguste Herbin, 1917. Fondation Gandur pour l’Art. Photo by André Morin
As this new edition of Art Genève 2025 concluded with the awarding of the Solo Art Genève — F. P. Journe Prize to the Richard Saltoun Gallery, and the Mobilière Prize to the young Swiss artist Alfatih, it leaves behind a mark of affirmed artistic diversity and a quality program. We look forward to 2026 for a new edition that will undoubtedly offer its share of great discoveries.
The Restaurant (Season 2), Will Benedict and Steffen Jørgensen, 2012–2024. Centre d’Art Contemporain de Genève. Photo by Stéphanie Courtines
State of Being (House), Chiharu Shiota, 2024. Templon. Photo by Stéphanie Courtines
CXLIX (Série Light Drawings), Anne Blanchet, 2003). FMAC. Photo by Stéphanie Courtines
Malaanum Fippu — The Veil of Peace, Alioune Diagne, 2023–2024. Templon. Photo by Stéphanie Courtines
We’re that Little Extra Spice that Makes Existence Extra Nice, Emmanuelle Lainé, 2023–2024. FCAC. Photo by Stéphanie Courtines
Julia’s Bookshop boot. Photo by Stéphanie Courtines
