Gina Folly
Dolce Vita

From October 6 to December 8, 2023
Opening, Thursday, October 5, 2023, from 6 to 8 pm

Nuit des Bains, Thursday, November 9, 2023, from 6 to 9 pm
Gina Folly’s work focuses on everyday life, on the interactions between the private and public space, between the intimate and social realms. She takes a precise, ironic and subtly critical look at the objects, messages and situations that surround us on a daily basis, which she retains, photographs and isolates in order to modify them and transpose them into the field of art. This gesture of appropriation, transformation and exhibition questions their real function, their purpose and above all the epistemological impact that these ordinary materials can have on our lives. She dissects them in order to reveal their poetic and dramatic potential, and their psychological and political impact.

The objects chosen by Folly question our condition as human beings, catapulted into an often hostile and coercive society. She endeavours to highlight the intrinsic contradictions, the underlying and imperceptible violence, lurking in all the signs of power that flood the social and political space, and parasitise our lives.

Folly chooses a variety of seemingly banal objects, such as boxes, electrical circuits, chains, padlocks, light bulbs, fans, handles and locks, eyelets and pregnancy tests. She extracts them from their context, transforms or duplicates them, slightly modifying the materials, formats, colours or finish, and recombines them with other objects, accentuating the feeling of constraint, hindrance and confinement.

In 2019, she intervened in the public space for the Kunsthaus Baselland in Basel. Outside, Folly installed a large photograph of a bookshelf belonging to a friend she had stayed with. The title, Fashion, Sex and Death – Science – Sports, Gardens and Conspicuous Consumption, simply transcribes the labels that are stuck on the shelves, indicating the classification themes which group together the words “fashion” and “sex” with “death,” “sport” with “garden” and “conspicuous consumption.” Without alteration, this labelling already suggests a commentary and a political questioning. The framing of the photograph, a close-up on these few shelves, precludes an overall or interior view, accentuating the feeling of suffocation already induced by the themes chosen to arrange these books. This work is emblematic of that which underpins Gina Folly’s work and determines its critical scope.

On the occasion of this exhibition, she spoke about her work and her commitment in a discussion with Inès Goldbach, the director of the Kunsthaus Baselland and the curator of the exhibition, which appeared in the book Listening to Artists (published byédition VfmK Verlag für moderne Kunst, 2022):

“My works almost always generate from a photograph. I’m keeping a sort of diary, mostly taken with my phone. I document my daily life as an observer. They’re architectural structures, objects and social events that make our daily life easier, disrupt it, make it more complicated, or ones that I don’t understand. Especially because of that, it can become interesting to document them. These moments mostly vanish again in my archive. I go back to them when I’m working on a specific project. They result in mostly approbate objects that I reproduce and specify. These processes are about entering relationships. Be it getting to know the person who produced the object I’m attracted to, or who knows the reason of its existence, or to find the right producer to make exact replicas of the respective works.”

In 2023, for her series of photographs exhibited at the Kunstmuseum Basel | Gegenwart, Gina Folly opted for a simple medium-format film camera with which she photographed members of the Quasitutto association of retired people, which offers all kinds of day-to-day support services. For another project, also in Basel, she distributed small disposable cameras to a number of children, so that they could take photos of their favourite works on display at the Basel Social Club, the fair that took place during ArtBasel 2023. In these two projects, the shooting is simple, on a 1:1 scale, with no aesthetic overkill, be it in terms of the framing, image processing, gesture, intention, recording. All of these parameters remain the most important, with no stylistic effects, no aesthetic overkill, no technical, dramatic or sentimental effects. A simple document, like an image seen in “real life,” whose recording method perfectly reflects Folly’s desire to remain in the background.

This absence of pathos allows viewers to project their own feelings, memories or experiences onto these very neutral, open images. These “implicit” images create an open space for appropriation and projection. Paradoxically, they have a greater impact on viewers’ memories, making them more endearing.

The objects chosen by Folly are often not commercial products; they are made or transformed by their user for a very specific, functional, practical use; they are inexpensive, devoid of luxury or decoration. Like the fountains for refreshing coconuts that can be found on beaches. Built by the farmers themselves – a kind of DIY –, adapted to their use and made with “the means at hand.” The fountain exhibited in June 2023 at the entrance to the Basel Social Club, during ArtBasel, was the perfect replica of one them.

Hans-Peter Feldmann, Jean-Frédéric Schnyder, Fischli and Weiss, and even Ed Ruscha have all worked in series, establishing a principle beforehand, a subject for collection, a pretext for repetition, multiplication of images or objects, made or appropriated, linked to everyday life. But whereas these artists practised a distancing, offering us a glimpse of our world through the prism a critical and necessary irony and scepticism, Gina Folly does not shy away from a compassionate dimension, in an inclusive gesture, never looking down on her subjects. By simply capturing everyday life, her environment and residual micro-events, however minute they may be, her works always bear witness to a society that is trying to maintain a precarious balance, a fairness and humanity that are so often abused. This empathy and awareness of otherness is the sign of a shift into another era.

As part of her exhibition project at the Centre d’édition contemporaine, Gina Folly will be producing an edition, a series of bouquets of preserved flowers presented in cardboard boxes coated with a varnish that protects against humidity and makes the boxes shiny. Each box bears an inscription, a very short phrase found randomly on a horoscope application that predicts the day ahead: slightly simplistic aphorisms, advice, judgements or trivial, absurd prophecies, whose meaninglessness and naivety create a poetic or downright comedic effect.

The process of preserving the flowers in this edition consisted of replacing the sap with glycerine, so that the plant retains a living appearance for many years, without the need for any special care. Once the bouquet has been preserved, no external intervention is required to ensure that the plants retain their original freshness. They are protected from wilting, frozen in a state of almost eternal flowering, but their colour is transformed: the petals take on a light grey-pink tint, almost black and white. A light, subtle, refined metaphor for the passage from life to art.

Gina Folly’s second project for her exhibition at the CEC will feature a frame containing a single sachet of seeds from the “Dolce Vita” flower mix – a reference to the title of the exhibition. The name of the mixture and the brand of these seeds, SELECT, allows Folly to intuitively and emotionally put this existential and philosophical question into perspective. What determines our choices, be they individual or collective? How does this infinite multitude of choices – from belief in chance, to the notion of the preconditioned unconscious, from chaos to consciousness and freedom of choice  – influence our paths and our lives?
Gina Folly was born in Zurich in 1983. She lives and works between Basel and Paris. In recent years she has presented several solo exhibitions, including: Autofokus. Manor Kunstpreis 2023, Kunstmuseum Basel | Gegenwart, Basel (2023); Solo presentation, Ermes Ermes, Paris Internationale, Paris (2019); Fashion, Sex and Death – Science – Sports, Gardens and Conspicuous Consumption, Kunsthaus Baselland, Basel (2019). Her work has also been shown in group exhibitions such as: CITY SALTS: THE GINA SHOW, Salts, Basel (2022); WHIMSIES, Essener Kunstverein, Essen (2022); THINK, AND THEN THINK AGAIN, Sgomento Zurigo, Zurich (2022); ORCA – Duo-Show with Philipp Timischl, Fondation Fiminco, Paris (2021); PRK-1U, Tonus, Paris (2021); A Part, Kunstkredit, Kunsthalle Basel, Basel (2020); Reality Companions, Motto Berlin, Berlin (2020); Groupshow, Bel Ami, Los Angeles (2019); life and limbs, Swiss Institute, New York (2019).
Gina Folly’s exhibition is supported by Ernst und Olga Gubler-Hablützel Foundation and Pro Helvetia, Fondation suisse pour la culture.



P.A.G.E.S. 2024
Caroline Schattling Villeval
Carences et toute-puissance
VOLUMES – Art Publishing Days 2023
Gina Folly
Dolce Vita
Book launch, Paradis
Presentation evening “Before publications”
Videos: new and revisited
artgenève 2023
Editions and Before publications
Liz Craft
Ms. America

L’esprit d’escalier
Paul Bernard
“Guy would never have done that.” Debord Curator
I Never Read, Art Book Fair Basel 2022
Paris Ass Book Fair 2022
Mai-Thu Perret
My sister’s hand in mine
artgenève 2022
Before et publications
Marie Angeletti
Paul Viaccoz

Bridge the gap
Guillaume Dénervaud
Printed Matter’s Virtual Art Book Fair 2021
Paul Paillet
Fascination for fire
artgenève 2020
Fabian Marti
Such a Good Girl
P.A.G.E.S. 2019
Open accrochage, editions
LA Art Book Fair 2019
Spring Sale Time
artgenève 2019
Matthew Lutz-Kinoy
What to wear to a concert? Tips for concert outfits: wear your best punk jacket with the right patches ! “A patch meant to be fixed to the back of your jacket depicting relevant cultural affiliations”
Matthew Lutz-Kinoy
The Meadow
Salon MAD#4 (Multiple Art Days)
Paris 2018
Victor Man invites Navid Nuur
Valentin Carron, Marc Camille Chaimowicz, François Curlet…
artgenève 2018
Keren Cytter
Jonathan Monk
Directional Advice
Thomas Hirschhorn
Edited by the CEC!
Focus: Mélanie Matranga
Jean-Michel Wicker
Book Launch c/o Section 7 Books, Paris
Jean-Michel Wicker
Book Launch c/o SALTS, Birsfelden/Basel
Presentation of the edition
Jean-Michel Wicker
Jakob Kolding
The Outside or the Inside of the Internalised Externalised
Jean-Michel Wicker
BBiblioteca ffanafffantastica
artgenève 2017
Inside the Bubble-Booth
Presentation of the edition
Jean-Michel Wicker
Belle étiquette
Presentation of the book
Mathis Gasser
In the Museum 1 2 (3),
Regulators 1 2 n
Presentation of the edition
Artists’ Voices
Valentin Carron
Deux épaisseurs un coin
Mathis Gasser
Sept sont tombés vers le ciel
Works on paper
artgenève 2016
Artists’ Voices
Artists’ Voices
I Never Read, Art Book Fair Basel 2015
Jason Dodge
David Maljkovic
Konstantin Grcic
artgenève 2015
Raphaël Julliard
Oriol Vilanova
Renoncer à te décrire
artgenève 2014 FILMS – CORRIDOR
Artissima 2013
NY Art Book Fair 2013
David Hominal
Through The Windows
Jonathan Monk
artgenève 2013
Salon Light #9, Paris
NY Art Book Fair 2012
Oscar Tuazon
Salon des Dames
artgenève 2012
Jeffrey Vallance
The Vallance Bible
Nouvelles éditions
Oscar Tuazon
Book Launch c/o Galerie Eva Presenhuber, Zürich
Aaron Flint Jamison
Philippe Decrauzat
Book Launch c/o Motto Zürich
Abstractions sentimentales et quelques éditions, Cneai, Paris
Philippe Decrauzat
Gerard Byrne
For example; a sketch of Five Elevations, 1971-72
Presentation of the book
Sgrafo vs Fat Lava
Présentation de l’édition de Pierre Bismuth Something Less, Something More – DIY
Sgrafo vs Fat Lava
Céramiques et porcelaines Made in West Germany, 1960-1980
Susanne M. Winterling
They Called Each Other Horses
Changement d’accrochage: Heimo Zobernig
Fröhliche Gesellschaft,
Parrotta Contemporary Art, Stuttgart
Editions vs. objets
Erik van Lieshout
The Assistant
T. Quelques possibilités de textes
EDITIONS (suite…)
Présentation du catalogue
L’Effet papillon, 1989-2007,
castillo/corrales, Paris
EDITIONS (2004-2008)
Presentation of
L’Effet papillon, 1989-2007
at Maison de la poésie, Basel
Trisha Donnelly
L’Effet papillon, 1989-2007
Olivier Bardin
You belong to me I belong to you
Editions récentes
Anne-Julie Raccoursier
Wireless World, BAC, Genève
Otra de Vaqueros (Redux), BAC, Genève
Habitat/Variations, BAC, Genève
Markus Schinwald, BAC, Genève
Andreas Dobler
In Deep Ink, BAC, Genève
Gianni Motti
Perpetual Channel
The Missing Evidence
Accrochage des éditions 1995-2005
Marie Velardi
Futurs antérieurs, 20006
Christophe Rey
Ocean Bluff
Quelques éditions…
No More Lights On My Starguitar
Florian Pumhösl
Héliogravures et film
M/M (Paris)
Pour hoM/Me,
printemps-été 2004
Mai-Thu Perret
Love thy sister like thyself
Haroutioun Simonian
Performance (à huis clos) & installation vidéo
Filière papier – Filière expo
Monica Bonvicini
Accrochage de l’édition
Finger No. 12
Jakob Kolding
Amy O’Neill et Emmanuel Piguet
Karl Holmqvist
Soirée tropicale
Animation: Vidéos
Rosemarie Trockel
Edition, eaux-fortes, 1996
Monica Bonvicini
Bonded Eternmale
Social Hackers
Fabrice Gygi
Vidya Gastaldon & Jean-Michel Wicker
Editions 2000
Bring the Noise
Bourse du CGGC 1997-1999
Evil Talk: Beyond the pleasure principle
Thomas Hirschhorn
Elke Krystufek
In the Arms of Luck
One Step Backwards: Books,
prints, videos, 1998
LISTE 98, The Young Art Fair,
Usine Warteck, Bâle
Elena Montesinos
Tune out, Turn off, Drop in
Multiples of the Centre genevois de gravure contemporaine
Eté 97
Stan Douglas
Hinrich Sachs

B. Toguo Tamokoué
Gravures et Multiples
Heimo Zobernig
Alexandre Bianchini,
Nicolás Fernández,
Jérôme Hentsch
Alain Julliard
Kristin Oppenheim
Rosemarie Trockel
Thomas Hirschhorn
Les Plaintifs, les Bêtes, les Politiques
Karen Kilimnik
Editions of the Centre genevois de gravure contemporaine
Luc Tuymans
Le Verdict
Estampes et photographies
Yves Gevaert éditeur, Bruxelles
Olivier Mosset
Claude Closky
Alexandre Bianchini

Hubert Mean
Alex Hanimann
Peintures, édition
Giuseppe Penone
Images de pierres
Sigurdur Arni Sigurdsson
Peintures, dessins
Gerry Schum
Fernseh und Videogalerie
John M Armleder
Ian Anüll
Dessins, sérigraphies et éditions
Claude Gaçon
Éditions, 1986-1992
John M Armleder
Jean Stern
Panini alle melanzane
Stephan Landry
Marie Sacconi
Laurence Pittet
Suzanne Lafont
Marcel Broodthaers
Œuvres graphiques, 1964-1975
Jean-Michel Othoniel
¡ Capotes !
Roman Signer
Installation hélicoptère, 1990
Jean-Marc Meunier
Sapins de Noël, 1988-1989
Anne Pesce
Pêcheur, c’est lui qui devient un poisson
Andreas Hofer
Installation – édition
Emmett Williams
Henri Michaux
Encres, gouaches, aquarelles, lavis
Andreas Gursky
Stéphane Brunner
Mori Shigeru