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. Your Desire 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. 

Sandra Cinto’s upcoming solo exhibition will be on view at Tanya Bonakdar Gallery, New York from November 5 – December 18, 2026.

Two parallel rows of colourful glass spheres, hung on simple brackets, counterbalance one another in size and tone. The thirteen spheres in the bottom row increase in size from the edges to the centre, in direct proportion to the shrinking of the eleven spheres of the top row. The colours also progress in opposition, from complementary tones at either extreme, so that they meet at the centre. This work uses an effect familiar from many of the sphere works the artist has produced over the last fifteen years: the vivid colours that seem to emanate from within the spheres were created by applying layers of translucent paint and reflective chrome to the back third of each sphere. The curvature of the spheres magnifies the bright colours so that they fill the interiors. Here, the hues change in response to viewers’ movements because the paint is applied as a gradient that fades from one tone to the next. Eliasson sees these works as optical devices that encourage embodied engagement. Their constantly changing appearance drives viewers to move around in space to examine the artwork and their own inverted reflections within the spheres.

Olafur Eliasson’s traveling solo exhibition titled, Your curious journey, is on view now at the Museum of Contemporary Art and Design, Manila, Philippines through November 15, 2026.

Rodrigo Hernández’s hand-hammered brass sculpture captures the artist’s dream-like imagery. 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.

Bonewhite Clay Torso 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’ work is on view now at the Palazzo Strozzi, Italy through January 2027.

In Yuko Mohri’s Decomposition series, she inserts electrodes into fruit to measure their internal moisture levels and converts changes in resistance into sound and light. The work 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 and the lights flicker.

Yuko Mohri has current solo exhibitions at The Bass Museum of Art, Miami and The Barbican Centre: The Curve, London.

Ernesto Neto's szeb - insepá bi 15 bibi demonstrates the artist’s use of crochet as a formal and symbolic element, transforming a small-scale artisanal craft into a large-scale sculptural action. The slow, collective activity is precisely planned yet organic, verging on ritualistic, as yet another powerful expression of Neto's enduring artistic inquiry. Here, a dynamic pattern emerges from an intricately crocheted web, traversing both two and three dimensional planes through the use of bamboo trusses.

The work is made of two sheets of rice paper burned with incense sticks of different sizes, creating an organic drawing that evokes the abstraction of smoke. The drawing is formed by the edges of the holes created by the incenses on the rice paper. The overlapping of the two sheets, with a black paper behind them, adds another layer to the drawing, making it more complex and intricate. Neuenschwander has long embraced the Duchampian gesture of chance and contingency, and the interaction of organic elements like rice paper and fire.

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.

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.

Amalia Pica’s solo exhibition, Lecturas Posibles, is on view at the Bass Museum of Art, Miami Beach through February 2027.

In this new work, Analia Saban explores the intersection of analog and digital systems through the language of weaving, painting, and technology. Flowcharts have become an important way of visualizing the systems and processes underlying AI, translating complex operations into networks of interconnected paths, decisions, and outcomes. Saban reimagines this diagrammatic language through the distinctly analog act of weaving, by interlacing linen threads as warp with long strips of dried, yet pliable acrylic paint as the weft. At the same time, she draws on the traditional still life as the subject of the flowchart, bringing together a centuries-old genre of painting with the visual language of contemporary technology.

By translating the still life into a flowchart, Saban shifts the image from something observed into something that can be processed, categorized, and mapped. The resulting work moves between the tangible and the computational, between the handmade and the systems of information that increasingly shape how images are produced and understood. Analia Saban has a major solo exhibition opening at LACMA opening in March 2027, which will travel to the Kemper Art Museum in St. Louis.

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. 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. 

Currently, Saraceno has a major solo exhibition at Haus Der Kunst, Munich through February 2027.

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. Dipping her works in beeswax and creating accordion-like paper sculptures, Vásquez de la Horra transforms them into three-dimensional objects, challenging the limits and possibilities of drawing.

Gillian Wearing has long investigated public personas and private lives. In her latest work, Me as John F. Kennedy, the artist explores the iconic American figurehead whose effect on the country’s modern political landscape is rivaled only by his impact on US popular culture. Known for his immense personal charisma, Kennedy was seen internationally as an advocate of public diplomacy and idealistic reform, even during times of tense conflict. Set against the background of the flag, Wearing’s work brings meaning to historical context within the current political climate, all while calling into question the nature of masks and what they say about our public and private selves.

Gillian Wearing’s solo exhibition Spiritual Family, is on view now at the National Portrait Gallery, London through January 2027.