Art Basel

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. Happiness 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 mountains and 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.

Overlapping ellipses, made from silvered, hand-blown glass, extend across the wall in a single horizontal row. Exploiting the visual ambiguity of the ellipse, the work graphically presents different points in the motion of a circular disk as it rotates around an elliptical orbit, like a celestial body moving through space. Where the ellipses overlap, the panes are slightly different hues, conjuring the illusion of overlapping transparent discs and shallow three-dimensionality. The silvering of the glass panes turns each into a mirror that reflects the viewer and their surroundings in the pane's respective color. Irregularities in the hand-blown material – such as ripples, bubbles, and subtle distortions – lend the work a tactile, fluid quality.

Eliasson’s upcoming exhibition titled Your curious journey opens June 9, 2026 at the Museum of Contemporary Art and Design, Manila, Philippines.

The three figures in this work are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative, photographic and sculptural works that continue this investigation and critique of the political environment, Gupta stages individuals holding their own or each other’s eyes, mouths and ears. This suggests that seemingly mobilized societies can actually produce more fear and myths, and that no real freedom is ensured. Instead of facilitating the free circulation of ideas, “advanced” political and technological systems

often generate more cultural clichés, wars, and terror. 

Gupta’s exhibition What Still Holds is currently on view at the Hamburger Bahnhof, Nationalgalerie der Gegenwart, Berlin, Germany through January 3, 2027.

Rodrigo 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. As in dreams, disparate scenes and sights are interwoven in surreal images, inviting the viewer to imagine new possibilities and uncover mysterious connections. Simmering with the emotional power of subconscious memory, Hernández’s works are suffused with the attraction of the unknown. His touchstones of poetry and philosophy frame his work within a broader epistemological and psychological exploration.

Bonewhite Clay Head is produced through an intimate logic that has now become signature to Mander’s practice. Rendered in bronze, the head appears to be made of wet clay and wood—mid way through the process of becoming. In this way, the artist freezes a very specific moment in time, highlighting the fragility of every moment that passes. The manipulation of material and scale generates a sense of puzzlement and awe, masterfully creating a sense of timelessness— while the sculpture seems to be just made, it is at the same time enigmatically atemporal. 

Mark Manders’s solo exhibition at Tanya Bonakdar Gallery, New York is on view through July 31, 2026. The artist’s exhibition Room with All Existing Words is also on view at the London Mithraeum, Bloomberg SPACE through July 4, 2026.

Employing the iconic materials of Ernesto Neto's practice, Two Colonies Going Somewhere is a dynamic sculptural installation comprised of individual sacks filled with glass beads.

The landscape articulated by the work plays upon aspects vital to the artist's practice, where elements such as improvisation and chance interconnect with the forces of weight and gravity in order to dictate form. Rooted in traditions including minimalist sculpture and Brazilian Neo-concretism, Neto's work connects the mind and body through the experience of space, using sensory perception to align the physical and the psychological. Neto’s installation SunForceOceanLife is currently on view at the Museum of Fine Arts, Houston through September 7, 2026.

Rivane Neuenschwander’s Fire Progression Maps are intricate drawings made with incense on rice paper, based on official wildfire progression maps. They trace the temporal expansion of wildfires through a sequence of geospatial perimeters recorded over the course of each fire. The source data is generated through a combination of infrared mapping flights, satellite imagery, and ground observations. Together, these observations are used to delineate the fire perimeter and calculate the affected area, with updates occurring at intervals ranging from 12 to 24 hours. Wildfire progression maps therefore represent the temporal expansion of a fire through successive layers of observation, each layer corresponding to a newly recorded perimeter.

Rivane Neuenschwander’s installation work dream.lab is currently on view at The Power Plant Contemporary Art Gallery, Toronto through September 6, 2026.

Over the last two decades, Lisa Oppenheim has developed a body of work that is rooted in the field of photography while also investigating the medium’s often overlooked margins and histories. In her Steichen Study series, Oppenheim transforms and embodies the practice of one of the twentieth century’s most well known yet enigmatic artists whose multifaceted career spanned nearly eighty years: Edward Steichen.

Steichen himself embraced new photographic technologies as they emerged, and he even equated his experiments in plant breeding with his approach to photography. One such example can be identified in Steichen’s late-1930s experiments with dye transfer printing. This technique impregnates red, green, and blue photographic matrices with cyan, magenta, and yellow dyes, creating hyper-saturated prints that look like no others. Unlike anyone else at the time (or for that matter since), Steichen also experimented with the process’s “normal” chromatic order, and the results turned the concept of photographic realism on its head, producing quasi-psychedelic renderings of everything from theatrical performances to bouquets of flowers. Oppenheim’s upcoming exhibition titled Monsieur Steichen at La Mécanique Générale, LUMA, Arles, France opens July 6, 2026.

Amalia Pica’s Daisy Chain paintings come out of a collaborative installation made on site at Cample Line in Scotland, where Pica invited schoolchildren, visitors, and community members to make real daisy chains together. Those chains were dried, pressed, and installed as a 50-meter collective artwork. The result was a fragile-but-resilient artwork that brought people together through a small, joyful act. The ‘socially constructed sculpture’ brings together Pica’s interests in memory, material culture, collective action and forms of common knowledge. Something as temporary and childlike as a daisy chain becomes, in Pica’s hands, a model for how people build relationships and culture together. The daisy chain itself becomes a metaphor for how knowledge, traditions, and social bonds are passed between people.

In the chilly climes of January there is a palpable lingering sadness in the air. Quiet falls once the festive celebrations have passed. During the joyful festivities of Christmas, the totemic tree – uprooted or felled from its native soil – is carried into the warmth of people’s homes. The tree is a symbol of togetherness, crowned with ornamental decorations and encircled by thoughtfully wrapped gifts. Yet once the festive season ends, it is quickly stripped bare. For a short while the centrepiece of domestic life, it is soon discarded – cast out on cold urban streets. Its needles, once a fleshly vibrant green, quickly dull into muted shades of brown and grey.

Wrapping paper adorning gifts gathered at the base of the Christmas tree carefully conceal the promise beneath its decorative skin. Patterned in bright, gracious colours, it too meets a similar fate to the tree. In the act of unveiling, the paper is torn apart – ripped, crumpled, and cast aside – its printed motifs rendered illegible. It quietly settles among the ordinary refuse of domestic life: discarded orange peel, milk cartons, beer cans, and the like.

The omnipresent urban pizza box awaits a similar destiny. Conveniently delivered to our doorsteps, a freshly made, piping-hot pie arrives as if by magic, summoned with the simple click of a button. The delivery pizza, an antidote to the culinary exertions of the elaborate Christmas meal, can feel like a true treat once all festive energy is spent. Yet once the momentary indulgence has passed, the box too is discarded—set beside other domestic waste, crusts and congealed cheese remnants still clinging to its surface. Reus’ Subs are a photographic sculptural collision of these three above mentioned relics of post-celebration. The photographs have been selected from the artist’s archive of street-bound trees collected worldwide, ranging from Dallas to Paris, to small-town Germany and New York City. 

In the unification of these three elements, each typically encountered in and around curb-side rubbish, they are no longer defined by their usual associations of waste or quiet melancholy. Instead, in their proximity, they begin to affirm one another. Reconfigured in unison, they take on a renewed presence: proud and celebratory, commemorating the joy of past moments while remaining firmly rooted in the present. Reus’s exhibition titled Salt is currently on view at the Kunstverein Freiburg, Germany through

July 26, 2026.

Referencing the material of Classical sculpture, yet carved by both the hand and the latest robotic technology, Puffer (Patagonia, Statuario) encapsulates a central concern in Analia Saban’s practice: the dichotomy of the hand versus the machine. In her explorations of fabric and form, she engages with the art historical tradition of drapery—a motif used from antiquity to the Renaissance to demonstrate skill, suggest movement, and embody the interplay of surface and depth. In Puffer (Patagonia, Statuario), Saban takes a contemporary approach, carving an everyday winter jacket into a material steeped in history.

This work advances Saraceno’s long-standing artistic inquiry Air-Port-City / Cloud City, a proposal for airborne habitats as a new, alternative form of urbanism. This work is composed of a number of interconnected modules constructed from mirrored metal panels, rendered in a colorful palette. In the space created be each module, there are netted forms which intersect with one another, entangled like tiny universes keeping one another in balance. The irregular facets of the sculpture are inspired by the geometry of the Weaire-Phelan structure, found in the way foam and soap bubbles form. The reflective surfaces illuminate an aqueous world, where boundaries become fluid and human spatial coordinates are challenged.

Saraceno’s work is currently on view in his exhibition titled Interwoven at the New Taipei City Art Museum, New Taipei, Taiwan through Sept 13, 2026 as well as in his exhibition titled Utopica at the Kunstsammlungen Chemnitz, Germany through August 16, 2026. The artist also has an upcoming exhibition titled Ancestral Futures at the Haus der Kunst, Munich, Germany opening July 17, 2026.

With drawing as the foundation of her artistic practice, Sandra Vásquez de la Horra’s multidisciplinary work depicts the

interconnectedness of the human body and the natural world. Taking inspiration from spiritual mythologies, folklore, religious iconographies, and Latin American popular imagery, she explores themes of the body, landscape, motherhood, gender, sexuality, and migration. Often dipping her works in beeswax or creating accordion-like paper sculptures, Vásquez de la Horra transforms them into three-dimensional objects, challenging the limits and possibilities of drawing.

Gillian Wearing’s Straight long black hair was inspired by Albrecht Dürer’s masterpiece Young Hare (Feldhase). The image is then made into a self portrait by incorporating the surreal long hair at the back of the hare’s tail, much like the artist’s own long straight black hair. The play on the word hair and hare adds a mysterious element, as the body of the animal almost disappears elusively into the background. Wearing’s exhibition titled Spiritual Family is currently on view at the National Portrait Gallery, London through January 10, 2027