Art Basel 2026 | Hong Kong
Ryan Gander
Ryan Gander was born in 1976 in Chester, England. He received his First Class Degree, BA (Hons) in Interactive Art at Manchester Metropolitan University and was a Post-Graduate Fine Art Participant at Jan van Eyck Academie Maastricht and Rijksakademie van Beeldende Kunsten in Amsterdam. The artist lives and works between Suffolk and London.
About the artwork
You Complete Me, or I see things you can’t see (A Frog’s Tale) by Ryan Gander is a sculptural work comprising an animatronic frog sitting among plants, one artificial, the other living. The frog hidden below the plant’s leaves delivers a speech on the difficulties of navigating in today’s world. The monologue is written from the perspective of the artist’s six-year-old son, Baxter who has been diagnosed with autism and is largely non-verbal.
Animal motifs in Ganderʼs work – such as a frog, a bird, and mice – often appear as symbols of innocence or “alternative knowledge.” Their voices and perspectives offer ways to understand the essence of humanity. A frog hiding below an artificial plant quietly portends that what civilisation has bestowed upon us is not order, but rather a challenging situation and ambiguous condition.
In an age when artificial intelligence is advancing at a dizzying pace and instantly available answers just as quickly lose their value, Ganderʼs work asserts the enduring value of doubt and questioning the status quo.
Presented Works
You Complete Me, or I see things you can’t see (A Frog’s Tale), 2025
Animatronic, audio, silicone, artificial plants, soil
Dimensions variable, duration: 15:25 min (loop)
frog:
10,5 x 8,5 x 1,3 cm (4 1/8 x 3 3/8 x 1/2 in)
plant pot and artificial plant:
60 x ø 32 cm (23 5/8 x ø 12 5/8 in)
additional plant pot:
32,3 x ø 34,5 cm (12 3/4 x 13 5/8 in)
Edition of 3
(RG 512)
Recent Exhibitions
Simon Fujiwara
Simon Fujiwara is a British-Japanese artist, born in 1982 in London, living and working in Berlin. Over the past decade, he has become known for his staging of large, complex exhibitions that explore the deeply rooted mechanisms of identity construction for both individuals and societies.
About the artwork
Simon Fujiwara’s painting belongs to the artist’s series of works recreating iconic art works by famous, historically significant artists through the perspective of his cartoon figure Who the Bær.
Executed in acrylic, charcoal, and pastel on canvas, Fujiwara’s large-scale work draws on the monumental painting Guernica by Pablo Picasso from 1937. Picasso’s work is a powerful anti-war statement that vividly depicts the horrors of war and its impact on innocent civilians, specifically in response to the German bombing of the town of Guernica during the Spanish Civil War. Guernica has become an enduring symbol of peace and is considered a forceful visual plea against the barbarity and terror of war. (A tapestry version of Pablo Picasso’s work was installed at the United Nations in 1985.)
Fujiwara has adapted the motif and portrays multiple likenesses of the Who the Bær figure in a sequence that appears animated, even cinematic. Fujiwara’s work explores the radical gesture of representing the horrors of war in a cartoon-like iconography—arguably it is not only Fujiwara’s bear who is a cartoon but Picasso’s late-cubist representations have a cartoon-like quality as well.
A noticeable update in the transformed iconography depicts a drone where in Picasso’s work a single light-bulb shines onto the scene from what appears to be an all-seeing (divine) eye. The drone is presented as its modern counterpart.
Presented Works
Study for a Whoernica (Green Panic), 2026
Charcoal, acrylic and pastel on canvas
119 x 249 cm (46 7/8 x 98 in) (unframed)
140,5 x 270,5 x 6,1 cm (55 1/4 x 106 1/2 x 2 3/8 in) (framed)
(SF 611)
Lee Bae
Lee Bae was born in 1956 in Cheong-do, Korea. He received his BFA and MFA in Fine Arts at Hongik University in 1981 and 1986. The artist lives and works between Paris and Seoul.
About the artwork
Issu du feu works are created by aligning hundreds of small chards of charcoal on the panel, which are then grafted and polished. The surface shows wood grain and growth rings made by nature and time, refracting light in various directions and in multiple angles. Evoking a wide range of images in the viewer’s minds, the surface reacts to the entire spectrum of light, from the faintest to the brightest, from clouds passing to shadows thrown by a passing visitor. As the artist has said, “it is a black material that produces light.”
Charcoal has unique meanings in Korean tradition. It is believed that charcoal can dehumidify houses and ward off evil forces. When the first full moon of the lunar calendar rises, people would perform the ritual of “burning the moon house”, setting ablaze a sacred moon structure built up of pine branches. The charcoal carbonized by the burning of pine wood is considered a purifying substance with spiritual implications.
Relatively inexpensive, the medium of charcoal made it possible for Lee Bae to explore various aspects of its materiality. In his artistic practice, the artist who lived in France for an extended period of his life, found a way to connect with his cultural roots.
Presented Works
Issu Du Feu 3g, 2000-2025
Charcoal on panel
190 x 124 cm (74 3/4 x 48 7/8 in) (unframed)
194 x 127,5 cm (76 3/8 x 50 1/4 in) (framed)
(LB 027)
Exhibition History
Lee Bae, Syzygy
Esther Schipper, Berlin
9.9. – 18.10.2025
Recent Exhibitions
Philippe Parreno
Philippe Parreno (b. 1964) rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text.
About the artwork
Iceman in Reality Park was first created for the 1995 group exhibition Ripple Across the Water — curated by Jan Hoet — which turned Aoyama city center, Japan into an outdoor art gallery. Every day just before lunch, in the private park of the Kirin Brewery Company in Minami Aoyama where employees gathered to eat, a refrigerated truck delivered an ice sculpture of a snowman. Every day the sculpture melted and was replaced the next day.
The work reappears twenty-five years later. The ice sculpture of a snowman is displayed on a plinth and melts over the course of a few days. It leaves behind the stones that were once embedded in the ice and the tree branches used for the arms. The amplified sound of dripping water echoes throughout the exhibition space.
The Iceman can be reproduced as many or as little times as desired. The ice sculpture does not need to be continually installed; the empty plinth with fallen stones, branches and soundtrack of dripping water is also a manifestation of the work. The Iceman could for instance appear in order to mark a special event or a celebration.
The work includes a found Japanese manhole cover; each edition number features a manhole cover with a different motif.
Working in a diverse range of media including film, sculpture, drawing, and text, Philippe Parreno conceives his exhibitions as a scripted space where a series of events unfold. He seeks to transform the exhibition visit into a singular experience that plays with spatial and temporal boundaries and the sensory experience of the visitor. For the artist, the exhibition is less a total work of art than a necessary interdependence that offers an ongoing series of open possibilities.
Presented Works
Iceman in Reality Park, 1995–2019
Sculpted ice, stones, wooden sticks, Corian plinth with found Japanese metal manhole cover, sound installation
Dimensions variable
Height: 115 cm (45 1/4 in) approx.
44 x 160 x 160 cm (17 3/8 x 63 x 63 in) (plinth)
Edition of 5
(PP 337)
Exhibition History
Philippe Parreno, Manifestations
Esther Schipper, Berlin
September 11 – October 17, 2020
Philippe Parreno: A Manifestation of Objects
WATARI-UM, The Watari Museum of Contemporary Art, Tokyo November 2, 2019 – March 22, 2020
Philippe Parreno, Ripple Across the Water
Minami Aoyama, Tokyo
September 2 – October 1, 1995
Tuan Andrew Nguyen
Tuan Andrew Nguyen was born in 1976 in Saigon, Viet Nam. In 1999, Nguyen graduated from the Fine Arts program atthe University of California, Irvine, and completed a Masterof Fine Arts in 2004 at the California Institute of the Arts, Valencia. The artist lives and works in in Ho Chi Minh City. Nguyen has received numerous awards, including the 2025 MacArthur Fellowship. Nguyen’s work explores thecritical impact of storytelling across media including video,sculpture, and installation.
About the artwork
In a Calder-esque fashion, Tuan Andrew Nguyen's mobiles balance elegantly and charmingly, their reflective pendants catching the surrounding lights. Some of the discs are painted in orange. In the lower part of the work, a shell casing is suspended from which a smaller section of the mobile extends. The shell, tuned to 647.27hz, a frequency which is believed to heal trauma, is engraved with a phoenix. The motif, associated with the mythical immortal bird that regenerates after death, is reflected in the shape of the mobile as a whole, further linking it to the theme of destruction and rebirth.
Nguyen's work is largely made from bomb fragments, salvaged in Vietnam, as unexploded leftovers from the Vietnam War. As the artist noted: "I wanted to create something in parallel with this idea of material reincarnation. In Vietnam’s Quảng Trị province, these unexploded bombs are everywhere, being reused as planters in coffee shops or people’s gardens and backyards. One of the ways that people made a living after the war was to forage and sell this material as scrap." Nguyen’s practice draws on, as he put it, “the power to take something that was meant for destruction, harm, and change it to something that has the possibility to heal.”
The series of mobiles refer to the artist's film The Unburied Sounds of a Troubled Horizon (2022), in which the contemporary protagonist, Nguyệt, uses unexploded ordnance (UXO) to create similar mobiles. At first, she’s not familiar with the work of Alexander Calder; then one day, she discovers his work in an old magazine and becomes convinced she is his reincarnation. As it happens, she was also born 49 days after Calder’s death—the Buddhist timeframe for rebirth. The film is fictional, but it interweaves the many true stories that the artist gathered of people who have been affected by UXO, directly and indirectly. The orange color on some of the discs, in the context of UXO is used as a sign of ammunition having been disarmed.
Presented Works
Auric Ash, 2026
Engraved 57mm brass artillery shell (tuned to E5 - 647.27hz) with wooden clapper, pounded brass from artillery shells, brass, stainless steel, enamel paint, nylon
218 x 340 cm (85 7/8 x 133 1/8 in)
Radius: 200 cm (78 3/4 in)
Hanging point: 210 cm (82 5/8 in)
(TAN 001)
Concurrent Exhibition
Tuan Andrew Nguyen, Temple, National Gallery Singapore (2025-26)
Pounded brass from artillery shells, enamel paint, patina, acrylic, plywood, metal bracket
ø 200 cm (78 3/4 in) (TAN 004)
Anri Sala
Anri Sala’s (b. 1974) oeuvre explores the relationships between music and narrative, architecture and film, interleaving qualities of diff erent media in both complex and intuitive ways to produce works in which one medium takes on the qualities of another.
About the artwork
Produced by Anri Sala in Italy where the technique has been practiced for centuries, the fresco is painted on specially prepared panels using the ancient technique of painting with pigment dissolved in water onto wet plaster. Set into the wet plaster are also pieces of marble that are integrated into the composition, similar to intarsia, flush with the surface of the plaster. The work is hung on the wall.
Sala’s group of frescoes, entitled Surface to Air, take as point of departure the artist’s own photographs of clouds, generally at a location specified by the coordinates in the title. Their billowing abstract shapes represent the epitome of changeability and constant flux, introducing to the new frescoes another layer of temporal dissonance. Thus, fresco and photography capture a meteorological phenomenon, a formation created by an unimaginably complex interaction of unseen natural forces.
Another important aspect of these new works is the marble inlays. Playing on the colors of the fresco, the distinct material recalls the marble dust traditionally included in the rough ground (arriccio) on which the finer plaster (intonaco) is applied. The inlays evoke an even broader temporal register, that of the geological time it took to produce the crystallized stone with its distinct colors and striations. Their patterns recall the frequent painting of faux-marble surfaces and the practice of intarsia, the creation of images from inlaid pieces of wood or marble, popular in the Italian Renaissance.
Presented Works
Surface to Air XLI (Tartaruga Egizia/25°37’44”N, 122°4’25”E), 2026
Fresco painting, intonaco on aerolam,
Tartaruga Egizia marble
41 x 67 x 4,5 cm (16 1/8 x 26 3/8 x 1 3/4 in)
(AS 151)
Recent Exhibitions
Lotus L. Kang
Lotus L. Kang was born 1985 in Toronto. Kang studied fine arts at Concordia University in Montreal (2004-2008), and completed an MFA at the Milton Avery School of the Arts at Bard College, New York, in 2015. The artist lives and works in New York.
About the artwork
Lotus L. Kang’s series entitled Synapse continues her longstanding engagement with cameraless photography. These works are created through an analogue luminogram process, wherein Kang places nylon produce bags – the type commonly used to package onions and citrus – in the head of a photo enlarger before projecting them onto photographic paper in the darkroom. The colors are created with filters directly in this process, making each work in the series unique.
The resulting images are both saturated and sensorial, loosely suggestive of bodily forms and functions – sinuous tendons, firing neurons, branching networks of nerves – each a nod to endless processes of regeneration, reproduction, and change.
Tract XXXIV belongs to a series of works that consists of belongs to Lotus L. Kang’s series of works titled Tract and consists of cast brass-bronze kelp knots attached to a nylon string suspended from the ceiling. Hanging on string, the arrangement recalls how kelp or other seaweeds get caught in fishing nets. The metallic surface of the small cast kelp is reminiscent both of the way the scales of live fish shimmer when caught in-between heaps of seaweed and of a mobile or chimes made of glittering objects. The references to anchovies, kelp and other seafood is a recurring motif in Kang’s practice, invoking the artist’s Korean-Canadian roots and family history.
Presented Works
Synapse 13:18, 2026
Luminogram mounted to Dibond
177,8 x 127 cm (70 x 50 in)
(LLK 033)
Synapse 19:01, 2026
Luminogram mounted to Dibond
177,8 x 127 cm (70 x 50 in)
(LLK 036)
Tract XXXIV, 2026
Cast aluminum anchovies, cast bronze anchovies, nylon
Height: 244 cm (8 ft.) approx.
(LLK 040)
Recent Exhibitions
Synapse 13:18, 2026 (LLK 033)
Synapse 19:01, 2026 (LLK 036)
Tract XXXIV, 2026 (LLK 040)
Ugo Rondinone
Ugo Rondinone was born in 1964 in Brunnen, Switzerland. He studied at the Hochschule für Angewandte Kunst, Vienna. The artist currently lives and works in New York.
About the artwork
Ugo Rondinone created his first Sun sculpture in 2016–2017 for the exhibition Voyage d’Hiver in the gardens of the Chateau de Versailles. Measuring five meters in diameter, it was formed from intertwined tree branches cast in bronze and gilded with gold leaf, creating a circular structure that evokes the sun.
The work initiated an ongoing series of sun sculptures, reflecting the artist’s engagement with German Romanticism and its central figure, Caspar David Friedrich. By reanimating elements of the natural world—such as tree branches—within his Neo-Romantic vocabulary, the Rondinone transforms humble materials into quietly lyrical forms. In 2019, Rondinone’s Sunny Days at Guild Hall, further explored the sun as both motif and metaphor. The entire gallery was filled with a multiplicity of sun sculptures in varying sizes, suspended or placed on the floor at varying angles.
At Art Basel Hong Kong, a 1.6-metre Sun sculpture is presented as the artist has envisioned it for indoor display—either hung from a specially designed nail or suspended from the ceiling, as in the Guild Hall installation. Works in the Sun series are very versatile. The gallery would be pleased to provide further information on other available sizes and options for outdoor or indoor installations upon request.
Recent Exhibitions
Ugo Rondinone, the sun, Château de Versailles, Versailles (2017)
Ugo Rondinone, sunny days, Guildhall, East Hampton (2019)
Pierre Huyghe
Pierre Huyghe was born in 1962 in Paris, France. He studied at the École nationale supérieure des arts décoratifs, Paris. The artist lives and works in Santiago, Chile.
About the artwork
Taken by the artist at sunrise, Pierre Huyghe’s photograph was taken during the production of the self-directed film by the same name, Camata, first presented at the Punta Della Dogana in 2024. Based on footage shot in the Atacama Desert, the film is continuously edited in real-time by Artificial Intelligence.
The photograph presents the site where the film was conceived. At the work’s center is a found skeleton located in that Chilean desert. The skeleton has exerted an ongoing fascination on the artist. It first appeared in a photographic work, Cerro Indio Muerto, 2016. The remains, which most likely were left undisturbed, except by the elements, have lain there since the early twentieth century. Parts of cloth, skin and hair are visible, much desiccated. From the clothes and chemical analysis of the remains, it was deduced to be those of a miner, to which the title also alludes: Chuquicamata, also located in the north of Chile, is the largest open pit copper mine in terms of excavated volume in the world.
Huyghe set up an AI-powered scenario at this extraordinary site. Akin to a miniature film set, the skeleton is surrounded by a semi-circular track. Inside, near the remains, two robotic arms near the skeleton are engaged in gestures, placing objects near the skeleton, removing them, pointing toward the objects and the landscape. One camera is on a robotic arm, one camera moves along the track and a third camera is placed outside the track, representing an inside and an outside onlooker or witness. A moving heliostat, its movements also choreographed by AI, is situated inside the circle the track suggests.
To the artist, the skeleton is of interest not as an object of speculation but rather in relation to the environment, the context and its relationship to the soil. That is, the remains have created a micro-environment around the location, in which even the small amount of water and organic materials have enriched the immediate surroundings. It is a process of someone “dying forever” that at the same time triggers life in unexpected ways. Camata articulates an infinite ritual as self-determined process independent of any human intervention.
The Atacama Desert in northern Chile is the driest and probably the oldest non-polar desert on the planet, its climactic conditions have been likened to those on Mars. No flora or fauna can withstand its aridity, the only viable indigenous life are small bacteria inside stone. Among underground mines dating back to the Inca population, remnants of human inhabitants range from arrowheads, clay pots, and woven alpaca fabric to the shallow graves that gave the area its name. In this environment the skeleton, nameless and undated, represents a source of life: organic matter which may have allowed other life forms that could otherwise not exist in this landscape to develop.
Presented Works
Camata I, 2024
Archival pigment print on cotton rag paper
74 x 106 cm (29 1/8 x 41 3/4 in) (unframed)
77,5 x 109,5 x 4 cm (30 1/2 x 43 1/8 x 1 5/8 in) (framed)
Edition of 5
(PH 208)
Recent Exhibitions
Rafa Silvares
Rafa Silvares was born in 1984 in Santos, Brazil. He studied fine arts at FAAP (Fundação Armando Alvares Penteado), São Paulo and received a BA in Language and Literature from the Faculty of Philoophy, Languages, and Human Sciences (FFLCH) at the University of São Paulo. The artist lives and works in Berlin.
About the artwork
Executed in oil on linen, the large scale work depicts an abstract landscape comprised of viscous mounds that appear to unfurl slowly, interrupted only by the crisp contour of a metallic object: interlocked snap hooks.
The work was produced for Silvares’ first exhibition at the gallery, a duo exhibition with Jac Leirner. Hyperlink is a tribute to Leirner, who is known for creating large-scale installations from hardware store materials.
Silvares lovingly paints the shiny metal of his human-made motifs with an eye for precisionist effect and the beauty of their abstract shapes. Together, triangles, rectangles, slivers of black, and shades of grey form the impression of seductive silvery surfaces. The metal is a recurring motif that exerts symbolic power; its hard, lustrous, reflective shell evokes the promise of modernity with its scientistic notions of cleanliness and the antiseptic. As with the hyper-seductive surfaces of consumer objects in late capitalism, the painting is knowing, perhaps even willfully complicit in the intermingling of pain and pleasure. And yet the work has an affirmative quality: the silver lining is a belief in color and shape as forces of renewal.
Presented Works
Hyperlink, 2025
Oil on linen
200 x 155 cm (78 3/4 x 61 in)
(RAS 003)
Load, 2025
Oil on linen
180 x 140 cm (70 7/8 x 55 1/8 in)
(RAS 016)
Exhibition History
Jac Leirner & Rafa Silvares, Ensemble
Esther Schipper, Berlin
November 14 – December 18, 2025
Recent Exhibitions
Hyperlink, 2025 (RAS 003)
Load, 2025 (RAS 016)
Liam Gillick
Liam Gillick (b. 1964) deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. Gillick’s work ranges from small books to large-scale architectural collaborations.
About the artwork
The work consists of a rectangular metal frame, fixed to the wall on one side and held suspended horizontally by two narrow metal poles on the other. 20 sockets with bright bulbs are placed on the frame at irregular intervals, illuminating the area below, in the manner of a lighting rig.
Built from readily available materials, the work’s apparent mobility and bright illumination combine the creation of a discursive space, characteristic of Gillick’s platforms and discussion island series, with that of a more provisional structure reminiscent of a stage or bandstand rig.
This work was designed for the 1997 exhibition ENTERPRISE at the Institute of Contemporary Art in Boston, of which Gillick later stated: “The work was located close to the entrance of a room just at the point where it began to be possible to hear the sounds coming from the Rirkrit Tiravanija’s rehearsal room at the other end of the space. The work designates a space where it might be possible to consider the potential of error.”
Gillick’s work includes clear references to the formal language of Minimalist Art but he uses this vocabulary knowingly to question the role art may play in society and in the market economy. The work is not conceived to be a mere object to be looked at, but is meant to function as an offer for communication and discussion, a situation, which possibly transgresses and questions the limits of aesthetic enjoyment.
Presented Works
Discussion Island Retribution Rig, 1997
Anodised aluminum, lights
240 x 240 x 50 cm (94 1/2 x 94 1/2 x 19 3/4 in)
(LG 677)
Exhibition History
Liam Gillick, Enterprise
Institute of Contemporary Art, ICA, Boston, 1997
Recent Exhibitions
Karolina Jabłońska
Deeply felt and keenly observed, Karolina Jabłońska’s (b. 1991) paintings often depict everyday situations that capture the awkwardness of certain common activities.
About the artwork
The two large-scale paintings belong to Karolina Jabłońska series featuring a generalized self-portrait with identifiable characteristics including a captivating facial expression, large brown eyes, and prominent bushy eyebrows.
Rendered in light shades of green, light blue, and chestnut, Replanting a Monstera depicts a torso framed by the leaves of a larger monstera plant. The initial impression of the scene is soft and sensual. The figure’s facial expression, however, appears stern and worried, and is echoed in form by the unearthed roots of the plant visible on the right side of the composition.
Eating Sketches features a large head with a gaping mouth, ready to devour heaps of torn paper, fragments of sketches bearing similar facial features. This self-referential gesture blurs the boundaries between the fictional characters in her paintings, which often serve as allegorical representations of her personal thoughts and experiences, and her life as an artist. Jabłońska’s motifs often invoke a wide range of art historical references, in this case her work Eating Sketches bears an uncanny thematic affinity to Francisco de Goya’s masterpiece, Saturn Devouring His Son, 1819 – 1823.
Presented Works
Replanting a Monstera, 2025
Oil on canvas
200 x 140 cm (78 3/4 x 55 1/8 in)
(KJ 119)
Eating Sketches, 2025
Oil on canvas
200 x 160 cm (78 3/4 x 63 in)
(KJ 118)
Recent Exhibitions
Replanting a Monstera, 2025 (KJ 119)
Eating Sketches, 2025 (KJ 118)
Hyunsun Jeon
Hyunsun Jeon was born in 1989 in Seoul and lives and works on Jeju Island, South Korea. She received her BFA and MFA in painting from Ewha Womans University in 2014 and 2018. The artist lives and works in Seoul.
About the artwork
The imagery of the three new works by Hyunsun Jeon hovers in-between abstraction and figurative painting. Geometrical shapes and patterns are interwoven with the depiction of leaves, cherries, and apple slices in varying shades and sizes.
Executed in watercolor, Jeon’s paintings focus on a material flatness (a smooth and often matte surface). Her iconography includes shapes read intellectually and intuitively as three dimensional but with an artful two dimensionality that highlights the insistent flatness of her compositions.
Jeon’s paintings are explorations of shifting shapes and forms that take on meaning only to shed it again. While Jeon draws on geometric shapes and everyday objects, her paintings also employ a formal language of simplified landscapes reminiscent of early digital imagery, sometimes even alluding to pixelated glitches.
Presented Works
Cherry Cakes, 2025
Watercolor on canvas
100 x 200 cm (39 3/8 x 78 3/4 in)
(HJ 141)
Where Colors Build the Ground, 2025
Watercolor on canvas
70 x 200 cm (27 1/2 x 78 3/4 in)
(HJ 142)
Leaves, Rabbits, and a River, 2025
Watercolor on canvas
100 x 200 cm (39 3/8 x 78 3/4 in)
(HJ 140)
Recent Exhibitions
In 2025, Hyunsun Jeon designed a shop window design for Hermès, Seoul
Cherry Cakes, 2025 (HJ 141)
Where Colors Build the Ground, 2025 (HJ 142)
Leaves, Rabbits, and a River, 2025 (HJ 140)
Ann Veronica Janssens
Ann Veronica Janssens was born in 1956 in Folkestone, England. She studied at L’École de la Cambre in Brussels. The artist lives and works in Brussels.
About the artwork
The work consists of 75 lilac cast glass blocks arranged in a rectangular shape.
The seriality of the repeating rectangular shapes is undercut by the uniqueness of each of the glass bricks with its slight variations and tiny inclusions of bubbles. Thus the strictness of the grid-like arrangement dissolves as the light plays on the different surfaces. Nestled pattern and maze-like impressions of infinite spaces, create an intricate, ever-changing architecture of light and color held seemingly “within” the sculptural objects.
The series of works evolves from Ann Veronica Janssens’ previous experiments, such as her constructions of cement blocks. Here, the glass has replaced the cement and plays with the light and the characteristics of the material.
The color of the cast glass blocks comes from metal oxides and other metal compounds added to the molten glass batch. Specific oxides are used to obtain certain colors. Since the works are produced artisanally and the process is a chemical one that cannot be strictly controlled, each batch can be slightly different depending on the amount of mineral or oxide added and the temperature used. The colors of individual editions may therefore vary.
Presented Works
75 Lilas Blocks (608/3), 2025
Cast glass
60 x 60 x 60 cm (23 5/8 x 23 5/8 x 23 5/8 in)
Edition of 3
AVJ 287
Exhibition History
Ann Veronica Janssens, September in Seoul
Esther Schipper, Seoul
September 2 – October 25, 2025
Recent Exhibitions
Prabhavathi Meppayil
Born to a family of goldsmiths, Prabhavathi Meppayil (b. 1965) transposes the techniques and matrials associated with this ancestral savoir-faire into a contemporary plastic language that formally draws on the modernist canon.
About the artwork
Prabhavathi Meppayil’s work consists of a panel covered in layers of white gesso in which copper wire has been embedded. Excavated through a lengthy process of hand-sanding, the fine wire becomes visible in places, forming a pattern of delicate parallel lines. Appearing light grey where they are still slightly hidden in some sections or sometimes on account of slight oxidation, in others the metal shines with subtly luminous color.
Meppayil’s performative operations echo the artisanal and cultural traditions of the artist’s background. Her works transpose the techniques and materials associated with the ancestral craft of goldsmithery into a contemporary formal language that draws on the modernist canon. Meppayil’s practice is process oriented, focusing on materials and tools. As she says herself, “the panels filled with tool marks [are] the abstraction of the tapping sound of the tool.”
Presented Works
s/twenty six, 2025
Copper wire embedded in gesso panel
121,9 x 121,9 x 5 cm (48 x 48 x 2 in)
(PRM 032)
s/twenty seven, 2025
Copper wire embedded in gesso panel
121,9 x 121,9 x 5 cm (48 x 48 x 2 in)
(PRM 033)
Exhibition History
Conversations II
Esther Schipper, Seoul
May 24 – July 26, 2025
Recent Exhibitions
s/twenty six, 2025 (PRM 032)
s/twenty seven, 2025 (PRM 033)
Floorplan
Booth 1B18
Art Basel 2026 | Hong Kong
Preview dossier, featuring works by the following artists
Ryan Gander
Ryan Gander was born in 1976 in Chester, England. He received his First Class Degree, BA (Hons) in Interactive Art at Manchester Metropolitan University and was a Post-Graduate Fine Art Participant at Jan van Eyck Academie Maastricht and Rijksakademie van Beeldende Kunsten in Amsterdam. The artist lives and works between Suffolk and London.
About the artwork
You Complete Me, or I see things you can’t see (A Frog’s Tale) by Ryan Gander is a sculptural work comprising an animatronic frog sitting among plants, one artificial, the other living. The frog hidden below the plant’s leaves delivers a speech on the difficulties of navigating in today’s world. The monologue is written from the perspective of the artist’s six-year-old son, Baxter who has been diagnosed with autism and is largely non-verbal.
Animal motifs in Ganderʼs work – such as a frog, a bird, and mice – often appear as symbols of innocence or “alternative knowledge.” Their voices and perspectives offer ways to understand the essence of humanity. A frog hiding below an artificial plant quietly portends that what civilisation has bestowed upon us is not order, but rather a challenging situation and ambiguous condition.
In an age when artificial intelligence is advancing at a dizzying pace and instantly available answers just as quickly lose their value, Ganderʼs work asserts the enduring value of doubt and questioning the status quo.
Presented Works
You Complete Me, or I see things you can’t see (A Frog’s Tale), 2025
Animatronic, audio, silicone, artificial plants, soil
Dimensions variable, duration: 15:25 min (loop)
frog:
10,5 x 8,5 x 1,3 cm (4 1/8 x 3 3/8 x 1/2 in)
plant pot and artificial plant:
60 x ø 32 cm (23 5/8 x ø 12 5/8 in)
additional plant pot:
32,3 x ø 34,5 cm (12 3/4 x 13 5/8 in)
Edition of 3
(RG 512)
Recent Exhibitions
Simon Fujiwara
Simon Fujiwara is a British-Japanese artist, born in 1982 in London, living and working in Berlin. Over the past decade, he has become known for his staging of large, complex exhibitions that explore the deeply rooted mechanisms of identity construction for both individuals and societies.
About the artwork
Simon Fujiwara’s painting belongs to the artist’s series of works recreating iconic art works by famous, historically significant artists through the perspective of his cartoon figure Who the Bær.
Executed in acrylic, charcoal, and pastel on canvas, Fujiwara’s large-scale work draws on the monumental painting Guernica by Pablo Picasso from 1937. Picasso’s work is a powerful anti-war statement that vividly depicts the horrors of war and its impact on innocent civilians, specifically in response to the German bombing of the town of Guernica during the Spanish Civil War. Guernica has become an enduring symbol of peace and is considered a forceful visual plea against the barbarity and terror of war. (A tapestry version of Pablo Picasso’s work was installed at the United Nations in 1985.)
Fujiwara has adapted the motif and portrays multiple likenesses of the Who the Bær figure in a sequence that appears animated, even cinematic. Fujiwara’s work explores the radical gesture of representing the horrors of war in a cartoon-like iconography—arguably it is not only Fujiwara’s bear who is a cartoon but Picasso’s late-cubist representations have a cartoon-like quality as well.
A noticeable update in the transformed iconography depicts a drone where in Picasso’s work a single light-bulb shines onto the scene from what appears to be an all-seeing (divine) eye. The drone is presented as its modern counterpart.
Presented Works
Study for a Whoernica (Green Panic), 2026
Charcoal, acrylic and pastel on canvas
119 x 249 cm (46 7/8 x 98 in) (unframed)
140,5 x 270,5 x 6,1 cm (55 1/4 x 106 1/2 x 2 3/8 in) (framed)
(SF 611)
Lee Bae
Lee Bae was born in 1956 in Cheong-do, Korea. He received his BFA and MFA in Fine Arts at Hongik University in 1981 and 1986. The artist lives and works between Paris and Seoul.
About the artwork
Issu du feu works are created by aligning hundreds of small chards of charcoal on the panel, which are then grafted and polished. The surface shows wood grain and growth rings made by nature and time, refracting light in various directions and in multiple angles. Evoking a wide range of images in the viewer’s minds, the surface reacts to the entire spectrum of light, from the faintest to the brightest, from clouds passing to shadows thrown by a passing visitor. As the artist has said, “it is a black material that produces light.”
Charcoal has unique meanings in Korean tradition. It is believed that charcoal can dehumidify houses and ward off evil forces. When the first full moon of the lunar calendar rises, people would perform the ritual of “burning the moon house”, setting ablaze a sacred moon structure built up of pine branches. The charcoal carbonized by the burning of pine wood is considered a purifying substance with spiritual implications.
Relatively inexpensive, the medium of charcoal made it possible for Lee Bae to explore various aspects of its materiality. In his artistic practice, the artist who lived in France for an extended period of his life, found a way to connect with his cultural roots.
Presented Works
Issu Du Feu 3g, 2000-2025
Charcoal on panel
190 x 124 cm (74 3/4 x 48 7/8 in) (unframed)
194 x 127,5 cm (76 3/8 x 50 1/4 in) (framed)
(LB 027)
Exhibition History
Lee Bae, Syzygy
Esther Schipper, Berlin
9.9. – 18.10.2025
Recent Exhibitions
Philippe Parreno
Philippe Parreno (b. 1964) rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text.
About the artwork
Iceman in Reality Park was first created for the 1995 group exhibition Ripple Across the Water — curated by Jan Hoet — which turned Aoyama city center, Japan into an outdoor art gallery. Every day just before lunch, in the private park of the Kirin Brewery Company in Minami Aoyama where employees gathered to eat, a refrigerated truck delivered an ice sculpture of a snowman. Every day the sculpture melted and was replaced the next day.
The work reappears twenty-five years later. The ice sculpture of a snowman is displayed on a plinth and melts over the course of a few days. It leaves behind the stones that were once embedded in the ice and the tree branches used for the arms. The amplified sound of dripping water echoes throughout the exhibition space.
The Iceman can be reproduced as many or as little times as desired. The ice sculpture does not need to be continually installed; the empty plinth with fallen stones, branches and soundtrack of dripping water is also a manifestation of the work. The Iceman could for instance appear in order to mark a special event or a celebration.
The work includes a found Japanese manhole cover; each edition number features a manhole cover with a different motif.
Working in a diverse range of media including film, sculpture, drawing, and text, Philippe Parreno conceives his exhibitions as a scripted space where a series of events unfold. He seeks to transform the exhibition visit into a singular experience that plays with spatial and temporal boundaries and the sensory experience of the visitor. For the artist, the exhibition is less a total work of art than a necessary interdependence that offers an ongoing series of open possibilities.
Presented Works
Iceman in Reality Park, 1995–2019
Sculpted ice, stones, wooden sticks, Corian plinth with found Japanese metal manhole cover, sound installation
Dimensions variable
Height: 115 cm (45 1/4 in) approx.
44 x 160 x 160 cm (17 3/8 x 63 x 63 in) (plinth)
Edition of 5
(PP 337)
Exhibition History
Philippe Parreno, Manifestations
Esther Schipper, Berlin
September 11 – October 17, 2020
Philippe Parreno: A Manifestation of Objects
WATARI-UM, The Watari Museum of Contemporary Art, Tokyo November 2, 2019 – March 22, 2020
Philippe Parreno, Ripple Across the Water
Minami Aoyama, Tokyo
September 2 – October 1, 1995
Tuan Andrew Nguyen
Tuan Andrew Nguyen was born in 1976 in Saigon, Viet Nam. In 1999, Nguyen graduated from the Fine Arts program atthe University of California, Irvine, and completed a Masterof Fine Arts in 2004 at the California Institute of the Arts, Valencia. The artist lives and works in in Ho Chi Minh City. Nguyen has received numerous awards, including the 2025 MacArthur Fellowship. Nguyen’s work explores thecritical impact of storytelling across media including video,sculpture, and installation.
About the artwork
In a Calder-esque fashion, Tuan Andrew Nguyen's mobiles balance elegantly and charmingly, their reflective pendants catching the surrounding lights. Some of the discs are painted in orange. In the lower part of the work, a shell casing is suspended from which a smaller section of the mobile extends. The shell, tuned to 647.27hz, a frequency which is believed to heal trauma, is engraved with a phoenix. The motif, associated with the mythical immortal bird that regenerates after death, is reflected in the shape of the mobile as a whole, further linking it to the theme of destruction and rebirth.
Nguyen's work is largely made from bomb fragments, salvaged in Vietnam, as unexploded leftovers from the Vietnam War. As the artist noted: "I wanted to create something in parallel with this idea of material reincarnation. In Vietnam’s Quảng Trị province, these unexploded bombs are everywhere, being reused as planters in coffee shops or people’s gardens and backyards. One of the ways that people made a living after the war was to forage and sell this material as scrap." Nguyen’s practice draws on, as he put it, “the power to take something that was meant for destruction, harm, and change it to something that has the possibility to heal.”
The series of mobiles refer to the artist's film The Unburied Sounds of a Troubled Horizon (2022), in which the contemporary protagonist, Nguyệt, uses unexploded ordnance (UXO) to create similar mobiles. At first, she’s not familiar with the work of Alexander Calder; then one day, she discovers his work in an old magazine and becomes convinced she is his reincarnation. As it happens, she was also born 49 days after Calder’s death—the Buddhist timeframe for rebirth. The film is fictional, but it interweaves the many true stories that the artist gathered of people who have been affected by UXO, directly and indirectly. The orange color on some of the discs, in the context of UXO is used as a sign of ammunition having been disarmed.
Presented Works
Auric Ash, 2026
Engraved 57mm brass artillery shell (tuned to E5 - 647.27hz) with wooden clapper, pounded brass from artillery shells, brass, stainless steel, enamel paint, nylon
218 x 340 cm (85 7/8 x 133 1/8 in)
Radius: 200 cm (78 3/4 in)
Hanging point: 210 cm (82 5/8 in)
(TAN 001)
Concurrent Exhibition
Tuan Andrew Nguyen, Temple, National Gallery Singapore (2025-26)
Pounded brass from artillery shells, enamel paint, patina, acrylic, plywood, metal bracket
ø 200 cm (78 3/4 in) (TAN 004)
Anri Sala
Anri Sala’s (b. 1974) oeuvre explores the relationships between music and narrative, architecture and film, interleaving qualities of diff erent media in both complex and intuitive ways to produce works in which one medium takes on the qualities of another.
About the artwork
Produced by Anri Sala in Italy where the technique has been practiced for centuries, the fresco is painted on specially prepared panels using the ancient technique of painting with pigment dissolved in water onto wet plaster. Set into the wet plaster are also pieces of marble that are integrated into the composition, similar to intarsia, flush with the surface of the plaster. The work is hung on the wall.
Sala’s group of frescoes, entitled Surface to Air, take as point of departure the artist’s own photographs of clouds, generally at a location specified by the coordinates in the title. Their billowing abstract shapes represent the epitome of changeability and constant flux, introducing to the new frescoes another layer of temporal dissonance. Thus, fresco and photography capture a meteorological phenomenon, a formation created by an unimaginably complex interaction of unseen natural forces.
Another important aspect of these new works is the marble inlays. Playing on the colors of the fresco, the distinct material recalls the marble dust traditionally included in the rough ground (arriccio) on which the finer plaster (intonaco) is applied. The inlays evoke an even broader temporal register, that of the geological time it took to produce the crystallized stone with its distinct colors and striations. Their patterns recall the frequent painting of faux-marble surfaces and the practice of intarsia, the creation of images from inlaid pieces of wood or marble, popular in the Italian Renaissance.
Presented Works
Surface to Air XLI (Tartaruga Egizia/25°37’44”N, 122°4’25”E), 2026
Fresco painting, intonaco on aerolam,
Tartaruga Egizia marble
41 x 67 x 4,5 cm (16 1/8 x 26 3/8 x 1 3/4 in)
(AS 151)
Recent Exhibitions
Lotus L. Kang
Lotus L. Kang was born 1985 in Toronto. Kang studied fine arts at Concordia University in Montreal (2004-2008), and completed an MFA at the Milton Avery School of the Arts at Bard College, New York, in 2015. The artist lives and works in New York.
About the artwork
Lotus L. Kang’s series entitled Synapse continues her longstanding engagement with cameraless photography. These works are created through an analogue luminogram process, wherein Kang places nylon produce bags – the type commonly used to package onions and citrus – in the head of a photo enlarger before projecting them onto photographic paper in the darkroom. The colors are created with filters directly in this process, making each work in the series unique.
The resulting images are both saturated and sensorial, loosely suggestive of bodily forms and functions – sinuous tendons, firing neurons, branching networks of nerves – each a nod to endless processes of regeneration, reproduction, and change.
Tract XXXIV belongs to a series of works that consists of belongs to Lotus L. Kang’s series of works titled Tract and consists of cast brass-bronze kelp knots attached to a nylon string suspended from the ceiling. Hanging on string, the arrangement recalls how kelp or other seaweeds get caught in fishing nets. The metallic surface of the small cast kelp is reminiscent both of the way the scales of live fish shimmer when caught in-between heaps of seaweed and of a mobile or chimes made of glittering objects. The references to anchovies, kelp and other seafood is a recurring motif in Kang’s practice, invoking the artist’s Korean-Canadian roots and family history.
Synapse 13:18, 2026 (LLK 033)
Synapse 19:01, 2026 (LLK 036)
Tract XXXIV, 2026 (LLK 040)
Presented Works
Synapse 13:18, 2026
Luminogram mounted to Dibond
177,8 x 127 cm (70 x 50 in)
(LLK 033)
Synapse 19:01, 2026
Luminogram mounted to Dibond
177,8 x 127 cm (70 x 50 in)
(LLK 036)
Tract XXXIV, 2026
Cast aluminum anchovies, cast bronze anchovies, nylon
Height: 244 cm (8 ft.) approx.
(LLK 040)
Recent Exhibitions
Ugo Rondinone
Ugo Rondinone was born in 1964 in Brunnen, Switzerland. He studied at the Hochschule für Angewandte Kunst, Vienna. The artist currently lives and works in New York.
About the artwork
Ugo Rondinone created his first Sun sculpture in 2016–2017 for the exhibition Voyage d’Hiver in the gardens of the Chateau de Versailles. Measuring five meters in diameter, it was formed from intertwined tree branches cast in bronze and gilded with gold leaf, creating a circular structure that evokes the sun.
The work initiated an ongoing series of sun sculptures, reflecting the artist’s engagement with German Romanticism and its central figure, Caspar David Friedrich. By reanimating elements of the natural world—such as tree branches—within his Neo-Romantic vocabulary, the Rondinone transforms humble materials into quietly lyrical forms. In 2019, Rondinone’s Sunny Days at Guild Hall, further explored the sun as both motif and metaphor. The entire gallery was filled with a multiplicity of sun sculptures in varying sizes, suspended or placed on the floor at varying angles.
At Art Basel Hong Kong, a 1.6-metre Sun sculpture is presented as the artist has envisioned it for indoor display—either hung from a specially designed nail or suspended from the ceiling, as in the Guild Hall installation. Works in the Sun series are very versatile. The gallery would be pleased to provide further information on other available sizes and options for outdoor or indoor installations upon request.
Recent Exhibitions
Ugo Rondinone, the sun, Château de Versailles, Versailles (2017)
Ugo Rondinone, sunny days, Guildhall, East Hampton (2019)
Pierre Huyghe
Pierre Huyghe was born in 1962 in Paris, France. He studied at the École nationale supérieure des arts décoratifs, Paris. The artist lives and works in Santiago, Chile.
About the artwork
Taken by the artist at sunrise, Pierre Huyghe’s photograph was taken during the production of the self-directed film by the same name, Camata, first presented at the Punta Della Dogana in 2024. Based on footage shot in the Atacama Desert, the film is continuously edited in real-time by Artificial Intelligence.
The photograph presents the site where the film was conceived. At the work’s center is a found skeleton located in that Chilean desert. The skeleton has exerted an ongoing fascination on the artist. It first appeared in a photographic work, Cerro Indio Muerto, 2016. The remains, which most likely were left undisturbed, except by the elements, have lain there since the early twentieth century. Parts of cloth, skin and hair are visible, much desiccated. From the clothes and chemical analysis of the remains, it was deduced to be those of a miner, to which the title also alludes: Chuquicamata, also located in the north of Chile, is the largest open pit copper mine in terms of excavated volume in the world.
Huyghe set up an AI-powered scenario at this extraordinary site. Akin to a miniature film set, the skeleton is surrounded by a semi-circular track. Inside, near the remains, two robotic arms near the skeleton are engaged in gestures, placing objects near the skeleton, removing them, pointing toward the objects and the landscape. One camera is on a robotic arm, one camera moves along the track and a third camera is placed outside the track, representing an inside and an outside onlooker or witness. A moving heliostat, its movements also choreographed by AI, is situated inside the circle the track suggests.
To the artist, the skeleton is of interest not as an object of speculation but rather in relation to the environment, the context and its relationship to the soil. That is, the remains have created a micro-environment around the location, in which even the small amount of water and organic materials have enriched the immediate surroundings. It is a process of someone “dying forever” that at the same time triggers life in unexpected ways. Camata articulates an infinite ritual as self-determined process independent of any human intervention.
The Atacama Desert in northern Chile is the driest and probably the oldest non-polar desert on the planet, its climactic conditions have been likened to those on Mars. No flora or fauna can withstand its aridity, the only viable indigenous life are small bacteria inside stone. Among underground mines dating back to the Inca population, remnants of human inhabitants range from arrowheads, clay pots, and woven alpaca fabric to the shallow graves that gave the area its name. In this environment the skeleton, nameless and undated, represents a source of life: organic matter which may have allowed other life forms that could otherwise not exist in this landscape to develop.
Presented Works
Camata I, 2024
Archival pigment print on cotton rag paper
74 x 106 cm (29 1/8 x 41 3/4 in) (unframed)
77,5 x 109,5 x 4 cm (30 1/2 x 43 1/8 x 1 5/8 in) (framed)
Edition of 5
(PH 208)
Recent Exhibitions
Rafa Silvares
Rafa Silvares was born in 1984 in Santos, Brazil. He studied fine arts at FAAP (Fundação Armando Alvares Penteado), São Paulo and received a BA in Language and Literature from the Faculty of Philoophy, Languages, and Human Sciences (FFLCH) at the University of São Paulo. The artist lives and works in Berlin.
About the artwork
Executed in oil on linen, the large scale work depicts an abstract landscape comprised of viscous mounds that appear to unfurl slowly, interrupted only by the crisp contour of a metallic object: interlocked snap hooks.
The work was produced for Silvares’ first exhibition at the gallery, a duo exhibition with Jac Leirner. Hyperlink is a tribute to Leirner, who is known for creating large-scale installations from hardware store materials.
Silvares lovingly paints the shiny metal of his human-made motifs with an eye for precisionist effect and the beauty of their abstract shapes. Together, triangles, rectangles, slivers of black, and shades of grey form the impression of seductive silvery surfaces. The metal is a recurring motif that exerts symbolic power; its hard, lustrous, reflective shell evokes the promise of modernity with its scientistic notions of cleanliness and the antiseptic. As with the hyper-seductive surfaces of consumer objects in late capitalism, the painting is knowing, perhaps even willfully complicit in the intermingling of pain and pleasure. And yet the work has an affirmative quality: the silver lining is a belief in color and shape as forces of renewal.
Hyperlink, 2025 (RAS 003)
Load, 2025 (RAS 016)
Presented Works
Hyperlink, 2025
Oil on linen
200 x 155 cm (78 3/4 x 61 in)
(RAS 003)
Load, 2025
Oil on linen
180 x 140 cm (70 7/8 x 55 1/8 in)
(RAS 016)
Exhibition History
Jac Leirner & Rafa Silvares, Ensemble
Esther Schipper, Berlin
November 14 – December 18, 2025
Recent Exhibitions
Liam Gillick
Liam Gillick (b. 1964) deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. Gillick’s work ranges from small books to large-scale architectural collaborations.
About the artwork
The work consists of a rectangular metal frame, fixed to the wall on one side and held suspended horizontally by two narrow metal poles on the other. 20 sockets with bright bulbs are placed on the frame at irregular intervals, illuminating the area below, in the manner of a lighting rig.
Built from readily available materials, the work’s apparent mobility and bright illumination combine the creation of a discursive space, characteristic of Gillick’s platforms and discussion island series, with that of a more provisional structure reminiscent of a stage or bandstand rig.
This work was designed for the 1997 exhibition ENTERPRISE at the Institute of Contemporary Art in Boston, of which Gillick later stated: “The work was located close to the entrance of a room just at the point where it began to be possible to hear the sounds coming from the Rirkrit Tiravanija’s rehearsal room at the other end of the space. The work designates a space where it might be possible to consider the potential of error.”
Gillick’s work includes clear references to the formal language of Minimalist Art but he uses this vocabulary knowingly to question the role art may play in society and in the market economy. The work is not conceived to be a mere object to be looked at, but is meant to function as an offer for communication and discussion, a situation, which possibly transgresses and questions the limits of aesthetic enjoyment.
Presented Works
Discussion Island Retribution Rig, 1997
Anodised aluminum, lights
240 x 240 x 50 cm (94 1/2 x 94 1/2 x 19 3/4 in)
(LG 677)
Exhibition History
Liam Gillick, Enterprise
Institute of Contemporary Art, ICA, Boston, 1997
Recent Exhibitions
Karolina Jabłońska
Deeply felt and keenly observed, Karolina Jabłońska’s (b. 1991) paintings often depict everyday situations that capture the awkwardness of certain common activities.
About the artwork
The two large-scale paintings belong to Karolina Jabłońska series featuring a generalized self-portrait with identifiable characteristics including a captivating facial expression, large brown eyes, and prominent bushy eyebrows.
Rendered in light shades of green, light blue, and chestnut, Replanting a Monstera depicts a torso framed by the leaves of a larger monstera plant. The initial impression of the scene is soft and sensual. The figure’s facial expression, however, appears stern and worried, and is echoed in form by the unearthed roots of the plant visible on the right side of the composition.
Eating Sketches features a large head with a gaping mouth, ready to devour heaps of torn paper, fragments of sketches bearing similar facial features. This self-referential gesture blurs the boundaries between the fictional characters in her paintings, which often serve as allegorical representations of her personal thoughts and experiences, and her life as an artist. Jabłońska’s motifs often invoke a wide range of art historical references, in this case her work Eating Sketches bears an uncanny thematic affinity to Francisco de Goya’s masterpiece, Saturn Devouring His Son, 1819 – 1823.
Replanting a Monstera, 2025 (KJ 119)
Eating Sketches, 2025 (KJ 118)
Presented Works
Replanting a Monstera, 2025
Oil on canvas
200 x 140 cm (78 3/4 x 55 1/8 in)
(KJ 119)
Eating Sketches, 2025
Oil on canvas
200 x 160 cm (78 3/4 x 63 in)
(KJ 118)
Recent Exhibitions
Hyunsun Jeon
Hyunsun Jeon was born in 1989 in Seoul and lives and works on Jeju Island, South Korea. She received her BFA and MFA in painting from Ewha Womans University in 2014 and 2018. The artist lives and works in Seoul.
About the artwork
The imagery of the three new works by Hyunsun Jeon hovers in-between abstraction and figurative painting. Geometrical shapes and patterns are interwoven with the depiction of leaves, cherries, and apple slices in varying shades and sizes.
Executed in watercolor, Jeon’s paintings focus on a material flatness (a smooth and often matte surface). Her iconography includes shapes read intellectually and intuitively as three dimensional but with an artful two dimensionality that highlights the insistent flatness of her compositions.
Jeon’s paintings are explorations of shifting shapes and forms that take on meaning only to shed it again. While Jeon draws on geometric shapes and everyday objects, her paintings also employ a formal language of simplified landscapes reminiscent of early digital imagery, sometimes even alluding to pixelated glitches.
Cherry Cakes, 2025 (HJ 141)
Where Colors Build the Ground, 2025 (HJ 142)
Leaves, Rabbits, and a River, 2025 (HJ 140)
Presented Works
Cherry Cakes, 2025
Watercolor on canvas
100 x 200 cm (39 3/8 x 78 3/4 in)
(HJ 141)
Where Colors Build the Ground, 2025
Watercolor on canvas
70 x 200 cm (27 1/2 x 78 3/4 in)
(HJ 142)
Leaves, Rabbits, and a River, 2025
Watercolor on canvas
100 x 200 cm (39 3/8 x 78 3/4 in)
(HJ 140)
Recent Exhibitions
In 2025, Hyunsun Jeon designed a shop window design for Hermès, Seoul
Ann Veronica Janssens
Ann Veronica Janssens was born in 1956 in Folkestone, England. She studied at L’École de la Cambre in Brussels. The artist lives and works in Brussels.
About the artwork
The work consists of 75 lilac cast glass blocks arranged in a rectangular shape.
The seriality of the repeating rectangular shapes is undercut by the uniqueness of each of the glass bricks with its slight variations and tiny inclusions of bubbles. Thus the strictness of the grid-like arrangement dissolves as the light plays on the different surfaces. Nestled pattern and maze-like impressions of infinite spaces, create an intricate, ever-changing architecture of light and color held seemingly “within” the sculptural objects.
The series of works evolves from Ann Veronica Janssens’ previous experiments, such as her constructions of cement blocks. Here, the glass has replaced the cement and plays with the light and the characteristics of the material.
The color of the cast glass blocks comes from metal oxides and other metal compounds added to the molten glass batch. Specific oxides are used to obtain certain colors. Since the works are produced artisanally and the process is a chemical one that cannot be strictly controlled, each batch can be slightly different depending on the amount of mineral or oxide added and the temperature used. The colors of individual editions may therefore vary.
Presented Works
75 Lilas Blocks (608/3), 2025
Cast glass
60 x 60 x 60 cm (23 5/8 x 23 5/8 x 23 5/8 in)
Edition of 3
AVJ 287
Exhibition History
Ann Veronica Janssens, September in Seoul
Esther Schipper, Seoul
September 2 – October 25, 2025
Recent Exhibitions
Prabhavathi Meppayil
Born to a family of goldsmiths, Prabhavathi Meppayil (b. 1965) transposes the techniques and matrials associated with this ancestral savoir-faire into a contemporary plastic language that formally draws on the modernist canon.
About the artwork
Prabhavathi Meppayil’s work consists of a panel covered in layers of white gesso in which copper wire has been embedded. Excavated through a lengthy process of hand-sanding, the fine wire becomes visible in places, forming a pattern of delicate parallel lines. Appearing light grey where they are still slightly hidden in some sections or sometimes on account of slight oxidation, in others the metal shines with subtly luminous color.
Meppayil’s performative operations echo the artisanal and cultural traditions of the artist’s background. Her works transpose the techniques and materials associated with the ancestral craft of goldsmithery into a contemporary formal language that draws on the modernist canon. Meppayil’s practice is process oriented, focusing on materials and tools. As she says herself, “the panels filled with tool marks [are] the abstraction of the tapping sound of the tool.”
s/twenty six, 2025 (PRM 032)
s/twenty seven, 2025 (PRM 033)
Presented Works
s/twenty six, 2025
Copper wire embedded in gesso panel
121,9 x 121,9 x 5 cm (48 x 48 x 2 in)
(PRM 032)
s/twenty seven, 2025
Copper wire embedded in gesso panel
121,9 x 121,9 x 5 cm (48 x 48 x 2 in)
(PRM 033)
Exhibition History
Conversations II
Esther Schipper, Seoul
May 24 – July 26, 2025
Recent Exhibitions
Floorplan
Booth 1B18
Esther Schipper GmbH
Potsdamer Strasse 81e
D–10785 Berlin
+49 [0]30 374433133
www.estherschipper.com
office@estherschipper.com
Esther Schipper GmbH
Potsdamer Strasse 81e
D–10785 Berlin
+49 [0]30 374433133
www.estherschipper.com
office@estherschipper.com
