The art world is in the throes of a "slow art" movement enabling collectors to engage, consider and contemplate art in a more meaningful manner that doesn't place investment concerns centre stage.
This shift in attitude and approach has set the stage for a re-appraisal of conceptual art, none more so than Arte Povera. This re-appreciation for probably Italy's most significant art movement of the 20th century manifested itself in multifarious presentations at ArtBasel from key proponents including Mario Merz, Jannis Kounellis, Michelangelo Pistoletto, Guilio Paolini and Giuseppe Penone.
In an environment where art that rewards the engaged viewer and installation art abounded, there was a noticeable trend towards sculpture.
Arresting many fairgoers in their tracks and provoking much discussion and praise was a major wood assemblage, no. 786, 1989, by Robert Klippel in Zurich's Galerie Gmurzynska booth. At the time of writing the work was on reserve for a client, price undisclosed.
The Robert Klippel Estate joined the gallery just a few months ago and perhaps now, a decade after his death Klippel will receive the international attention that art critic Robert Hughes felt he deserved. Gallery Director, Mathias Rastorfer, explained that it is very rare to "discover" a 20th century artist of such quality and distinction unknown to the European market, especially in a shrinking and super-connected world.
He strongly believed that the contextual leap for collectors would be small given Klippel's correlation with Russian Constructivism and Galerie Gmurzynska's own artist David Smith and internationally with Richard Tuttle. Rastorfer indicated that Robert Klippel's command of the sculptural form, his diversity and important oeuvre would appeal to and imbue collectors with confidence.
It will be an amazing achievement if Galerie Gmurzynska create an international market for a deceased Australian artist in a Euro-centric market and may promise exciting times ahead for collectors of Klippel in Australia.
An Australian sculptor who has received plenty of international exposure is London-based Ron Mueck.
His appearance at ArtBasel with the uncannily realistic, yet small scaled work Youth, 2009 was in fact his art fair debut. Carrying a price tag of £450,000, Hauser & Wirth of Zurich and London had already sold one edition, with another on reserve. A buzz surrounded Mueck's showing at a commercial fair which his gallery no doubt hopes translates into further sales at their first Mueck exhibition scheduled for next year.
The newest Australian kids on the block and Venice Biennale veterans to boot were Claire Healy + Sean Cordeiro, represented by Nature Morte, NY and Berlin in collaboration with Barry Kedoulis.
They continued the trend towards sculpture with Future Remnant, 2011, a 2.58 metre high and 4.85 metre long dinosaur fossil replica tied to and resting upon a series of Ikea cabinets and shelving units.
Healy and Cordeiro who respond to cultural and social aspects of their chosen environment, were perhaps alluding to old worlde and new world economic models. Future Remnant was priced at 60,000 euro with well founded hopes that an institution might give it a home.
In light of the Euro-centric flavour of ArtBasel it was both intriguing and encouraging to see three Australian artists, all from different periods but united in their distinct and unique expressions, finding a pedestal in the most important art fair in the world.
At the biggest and most important art trade fair in the world trading routes to Australia are slowly strengthening, prompting thoughts that we may be on the cusp of a (modest) international dynamic entering our market.
