Andrew Reed Gallery is pleased to participate in Basel Social Club 2026: Office, on view June 14–20 in Basel.

This year’s edition occupies a vacant office building near Basel SBB, activating its floors through exhibitions, performances, music, gastronomy, and informal encounters.

Positioning the office as both subject and scenography, Basel Social Club engages with evolving conditions of work, time, and production in the context of digitalization, remote infrastructures, and artificial intelligence.

For their contributions to Basel Social Club, Dan Attoe and Laurie Simmons mine the great outdoors. The cowboys of Simmons’ Big Figures series, while set at her then-boyfriend, now-husband Carroll Dunham’s family’s home in Connecticut, bear similarity to the farming culture of Switzerland. Attoe’s mountainous scapes, airport terminals, and St. Bernard canine are all endemic to the country. While often exploring the vast expanses of the Pacific Northwest, here Attoe imbues them with a Swiss bent, also seen in the patterned blanket of Drifting at Twilight.

Dan Attoe is most known for his paintings of natural scenes imbued with an astute attention to detail and a masterful application of paint. Attoe’s use of oil, gesso, and varnish echoes the techniques of the Old Masters, yet these paintings are decidedly contemporary. The majestic outdoors and her corresponding natural wonders render the humans who occupy the landscapes minute. Human presence does not impose itself so much as become just a small microcosm within the painting, whether bathing in a cenote, skinny dipping at the base of a mountain, or driving off of an awe-inspiring waterfall edge. In these works, Attoe often inscribes witticisms sourced from his own writing and keen observations of American culture.

Laurie Simmons is an American artist best known for her photographic and film work. Art historians consider her a key figure of The Pictures Generation and a group of late-1970s women artists that emerged as a counterpoint to the male-dominated and formalist fields of painting and sculpture. Simmons's elaborately constructed images employ psychologically charged human proxies—dolls, ventriloquist dummies, mannequins, props, miniatures and interiors—and also depict people as dolls. Often noted for its humor and pathos, her art explores boundaries such as between artifice and truth or private and public, while raising questions about the construction of identity, tropes of prosperity, consumerism and domesticity, and practices of self-presentation and image-making.

We look forward to contributing to this site-responsive program and to welcoming you in Basel.