Art Basel Paris

For over three decades, Monica Bonvicini’s multifaceted practice has confronted issues of institutional critique and the politics of space in relation to gender and power. The Absolut continues her long-standing exploration of literature and poetry, drawing on passages that resonate with her personally. In this case, the text implies the human urge for something ultimate — love, connection, or fulfillment. These typographical works use a complex technique of layered lacquer that simulates a wet surface, mirrored as to implicate the viewer within its sentiment.

Sandra Cinto’s fine brush draws intricate navy mountains and blue clouds onto a gradient gold background. These delicate motifs appear across her works, populating her lyrical worlds. Cinto’s seemingly weightless environments hover gently between fantasy and reality, creating a luminous plane where anything is possible. Her new series of circular paintings suggest Renaissance ‘tondos’, a form favored for images of the Madonna or the filigreed halos of Byzantine icons. Rather than looking to the saints for salvation, Cinto’s tondos look to the miracle of the natural world for enlightenment.

Cinto's solo exhibition Prelude to the Sun and the Stars is currently on view at Es Baluard Museum in Palma, Mallorca.

Positioning the viewer as a co-producer of his artwork, and investigating perception are fundamental concerns in Olafur Eliasson’s practice. The dynamic vertical composition to be featured at Art Basel Paris sits at the intersection of these pursuits. From an ongoing series of mirror mosaics, these work can give the illusion of circular discs turning into ellipses, shifting upon their axes, to create the sense that the disc is rotating and approaching at the same time. Made from handblown glass, the backs of the glass panes are silvered so that they function as mirrors, reflecting the viewer and their surroundings in the particular tone of the glass. Ripples and bubbles in the handblown glass enhance the overall effect of flfluidity and movement, and the choice of colors reflects a partial progression through the color wheel, from blue to yellow.

Olafur Eliasson: Your curious journey will open January 29 at the Museum MACAN, Jakarta, Indonesia, and Olafur Eliasson: Presence will open December 6 at QAGOMA, South Brisbane, Australia.

Rodrigo Hernández’s Waiting in bed is a hand-hammered brass sculpture that captures artist’s dream-like imagery and conveys the intimacy of the moment depicted. While the luminous surface appears etched and carved, in reality, brass sheets have been layered and attached with fasteners to create a subtly sculpted plane. Hernández’s fantastical visual lexicon is rooted in a wide and distinctive range of sources: from Mexican pre-Columbian art to Japanese prints, from European modernism to science and literature. Simmering with the emotional power of subconscious memory, the artist's works are suffused with the attraction of the unknown.

Kimsooja’s newest freestanding sculpture, Deductive Object suggests a sublime totality that alludes to birth and death. The ovoid shape was inspired by the Brahmanda stone (“cosmic egg”) which in Indian mythology is believed to stand at the origin of creation. Conceptualized as a painting that does not reveal its surface, the deep black absorbs ambient light so the mirrored surface below enfolds the physical space around it.

Kimsooja: To Breathe - Mokum is currentyl on view at uke Kerk in Amsterdam. Kimsooja: To Breathe - Sunhyewon is also on view in Seoul.

For more than three decades, Mark Manders has developed an endless self-portrait in the form of sculpture, still life, and architectural plans. Described by the artist as his ongoing “self-portrait as a building,” Manders’ works present mysterious and evocative tableaux that allow viewers to construct their own narrative conclusions and meanings. Produced through an intimate logic that has now become signature to Manders' practice. Rendered in cast bronze, the work depicts a figure in what deceptively appears to be a soft clay. In doing so, the artist blurs the line between reality and illusion, and freezes a moment in time, highlighting the fragility of each passing moment. Female Head is produced through an intimate logic that

has now become signature to Manders' practice.

Mark Manders has a major solo exhibition on view at Voordlinden in The Netherlands, on view through January 18, 2026.

In Yuko Mohri’s Decomposition, she inserts electrodes into fruit to measure their internal moisture levels and converts changes in resistance, caused by withering or rotting, into sound. Decomposition translates minuscule changes occurring inside fruit into harmonies, conveying the life of fruit that continues to emerge and evolve even after its connection to the soil or tree trunk has been severed. Hinting at the history of still-life painting, Mohri’s work questions the relation between stillness and liveliness, revealing that what might seem without life is actually full of it. As the fruits dry over time, the fruitsʼ resistance grows, and consequently the pitch of the composition rises. 

Yuko Mohri has a major solo exhibition at Pirelli HangarBicocca in Milan, Italy, on view through January 11, 2026.

This wall based crochet work by Ernesto Neto continues the artist's use of gravity, weight, and tension to dictate form. Crochet is an important part of Neto’s formal vocabulary with the basic units of string and knots serving as his paint and paintbrush. Made by hand in a traditional finger knitting technique, this sculptural wall composition weaves together human intervention with the natural world. Evoking imagery of branching trees, intricate root systems, and finally new, budding floral life, Life is love… seeks to expand on the biomorphic lexicon that has become synonymous with Neto’s practice.

Ernesto Neto’s recently exhibited a major installation titled Nosso Barco Tambor Terra (Our Boat Drum Earth) at the Grand Palais in Paris.

In this series, Lisa Oppenheim explores the legacy of Edward Steichen (1879-1973), well-known for his photographic innovations and experimental approaches to flower-breeding. In 1910, botanist Fernand Denis created and named an iris hybrid "Mons. Steichen" after him, though no images or specimens survive. Steichen pioneered dye transfer printing in the 1930s, experimenting with unconventional color combinations to create vibrant, almost psychedelic images. In his spirit, Oppenheim used AI to generate hypothetical crosses between the parent iris species (Chameiris Alba and Iberica). She then produced analog prints of the AI-generated images using the labor-intensive and almost entirely outmoded dye transfer process. Using nonstandard colors, she created diverse interpretations of the lost "Mons. Steichen" hybrid that explore the concept of both genetic and photographic verisimilitude.

Atop of the free-standing sculpture What Grows (2704), four numbers read ‘2704’ (Reus’ date of birth) in serif font, stylized in a 3-dimensional format, and set nested into the surface texture of the bag. The numbers are stylistically rendered in the language of a domestic door number, suggesting a home delivery to an unspecified address. The sand surface texture of the bag features both protruding calendar graphics and a graphic design for an All Purpose Bleached Flour: referring to an equally powdered substance as its sandy materiality suggests. The flour, and the flower find themselves both linguistically and synthetically entangled in this sculpture. The animated and elegant “Fritillaria Meleagris” flower, also known as the ‘Checkered Lily’ which seems to grow out of the bag, suggestively feeds from its sandy, powdery contents, is one which has often been depicted in historical dutch still life paintings. Implying that the artifice of nature that is part of today’s produce, is rooted (both metaphorically and visually) and resonates with the artifice construction of the still life paintings of the art historical past.

Upcoming, Reus has a solo exhibition at Museum Beelden aan Zee, The Netherlands openign January 16, 2026.

In Core Memory, Houndstooth (Black and White), Saban merges weaving methods with early digital systems by combining the binary structure of a magnetic-core memory, the building blocks of early computers, with the grid of a loom. Reimagined as a sculptural frame, this work transposes the pattern of houndstooth with dried acrylic paint, acting as threads. By comparing these foundational systems, Saban reveals similarities between cloth patterning,binary code, and the technologies that administer daily life.

Upcoming, Analia Saban will have a solo exhibition at Tanya Bonakdar Gallery, New York, opening on October 30, 2025.

Saraceno’s work invites viewers to consider geometries and phenomena of the natural world as adaptable models for the ways we live and interact. This cluster-like sculpture is composed of a number of interconnected modules, forming constellations out of geometric structures inspired by the Weaire-Phelan model, which explores the shapes made by aggregating foam or soap bubbles. The reflective and iridescent surfaces of the modules become illuminative complements to the natural environment in which the cloud is installed, redirecting and expanding the reflections of the sky and its ever-changing, boundary-blurring weather patterns. This work is also part of a larger body of suspended artworks that relate to Saraceno’s long-standing artistic inquiry— Cloud Cities—a proposal for a common imaginary habitat where humanity could live in the air, forming an ethical re-alliance with the environment, the planet and the cosmic/web of  life beyond Anthropocentrism.

In 2026, Saraceno has a forthcoming solo exhibition at the Haus der Kunst, Munich.

Through complex constellations of objects and a proliferation of images, Sarah Sze expands upon the never-ending stream of visual narratives that we negotiate daily, from magazines and newspapers, television and iPhones, to cyberspace and outer space. Short Cut (Raccourcie) evokes the generative and recursive process of image-making in a world where consumption and production are more interdependent, where the beginning of one idea is the ending of another— and where sculpture gives rise to images, and images to sculpture. 

Sze expands her work by embedding her nuanced sculptural language into the material surfaces of painting and into the digital realm—collapsing distinctions between two, three and four dimensions. Her practice fundamentally alters our sense of time, place, and memory by transforming our experiences of the physical world around us.

In Paris, Sze's work will be included in the opening of Fondation Cartier pour l’art contemporain's new exhibition space on October 25, 2025.

Throughout the past two decades, Gillian Wearing’s films, photographs and sculptures have investigated public personas and private lives. Me as Eva Hesse adds to her ongoing series of self-portraits that feature the artist dressed and masked as art historical figures who have been particularly influential to the artist's own practice. Wearing refers loosely to this series as her “spiritual family”.