This year’s edition of the Parcours sector of Art Basel in Basel has been developed by Stefanie Hessler. Directed by the German curator for the second consecutive year, Parcours transforms unexpected areas across the city into exhibition spaces for artworks ranging from video installation, sculpture and large-scale collage. Churches, shopping centres and underpasses will provide viewers a chance to engage with these diverse works, whether you’re a well-heeled collector or simply a passer-by. Here, Hessler discusses this year’s Parcours theme, highlights from throughout the city and the importance of public art. 

Tell us about the theme of this year’s Parcours. 
I chose the concept of “Second Nature”, which I see as having multiple layers. The first layer considers the way humans have changed the world, blurring the boundaries between nature and artifice. The second layer illuminates the ways that gestures and habits form our behaviour and change our behaviour. Our movements and our gestures can become second nature to ourselves. The third layer explores the way that information flows – through algorithms and the circulation of images – and how that will continue to change who we are. 

I invited artists whose projects specifically engage with these thematic layers. I’m particularly interested in the dialogue between the artist and the site, and many of the featured creatives work site responsively. For example, Shanghai-based artist Yu Ji has made something resembling a dinner scene for humans and non-humans to be shown specifically in the banquet hall of Hotel Rheinelderhof. Collaborating with both the artists and the owners of all the various sites that we’re using has been an organic process – we’re truly integrating these projects into the local fabric of Basel.

What’s the most unusual venue you’re using this year?
The underpass, where we’re showing a video by Sturtevant, is perhaps the most unconventional venue but I was happy that we were able to make it work. The project is a 21-metre-long projection of a running dog, with the image repeating every nine seconds in an endless loop. While Sturtevant was known for recreating works by other artists, later in her life, she became interested in the endless proliferation of images and information on the internet. The running dog is one of her most iconic works and I wanted Parcours to feel more intergenerational this year. Sturtevant’s work was key to my concept and the selection of artists. The installation is in an underpass right by the river – a place frequented by people walking their dogs — which makes it a great intervention in public space.

How important is it that Parcours is a public event?
Parcours is a free and open invitation to both visitors of the fair as well as local audiences. There’s a beautiful dialogue that unfolds between the international art world and the residents of Basel. I love how art can interject in everyday life and create moments of surprise throughout your day. We have moved Parcours closer to the fair, which brings more attention to this part of the city. There are a lot of shops in Klarastrasse and it’s not as picturesque as other parts of the city visited by tourists, but that is what’s great about it. It highlights everyday life in Basel, which I – and the artists that I’ve worked with – find really inspiring. 

Has working on Parcours changed how you view the city?
The first time that I curated Parcours, I visited about 70 different sites and there are many more locations that I hope we can use for future editions. Like any city, Basel offers so much if you pay attention. It’s fantastic when artists create art with specific locations in mind because it directs our attention differently. There’s also a whole world underneath our feet where I’m hoping to stage projects during the next editions. 

Read next: Five booths not to be missed at this year’s Art Basel in Basel