Art Basel2026
Ignasi Aballí
Polly Apfelbaum
Alice Attie
Herbert Brandl
Ernst Caramelle
Helmut Federle
Bernard Frize
Katharina Grosse
Sheila Hicks
Imi Knoebel
Daniel Knorr
Sonia Leimer
Isa Melsheimer
Miao Ying
Natasza Niedziółka
Karin Sander
Jörg Sasse
Walter Swennen
Joëlle Tuerlinckx
Günter Umberg
Jongsuk Yoon
Current Fair
Private View16 – 17 JUN 2026
Public View18 – 21 JUN 2026
HALL 2.0 / BOOTH A6
Imi Knoebel
Etcetera CCLXXII, 2026
Acryl auf Aluminium
181,4 x 139,5 x 4,5 cm
Imi Knoebel
Etcetera CCLXIII, 2025
Acryl auf Aluminium
57,7 x 57,7 x 4,5 cm
Katharina Grosse
Ohne Titel, 2026
Acryl auf Leinwand
207 x 153 cm
Bernard Frize
Yuro, 2026
Acryl und Harz auf Leinwand
122 x 122 cm
Günter Umberg
Ohne Titel, 2015
Poliment, Pigment, Dammar auf Holz
52,5 x 49,5 cm
Helmut Federle
Basics on Composition M (For the American Indian II), 2020
Öl auf Leinwand
40 x 50 cm
Walter Swennen
Losange, 2006
Öl auf Metall
41 x 48 cm
Herbert Brandl
Ohne Titel, 2021
Acryl auf Leinwand
218 x 170 cm
Herbert Brandl
Ohne Titel, 2022
Acryl auf Leinwand
90 x 70 cm
Jongsuk Yoon
Onyang, 2026
Öl auf Leinwand
150 x 170 cm
Jongsuk Yoon
Joyful, 2026
Öl auf Leinwand
170 x 150 cm
Isa Melsheimer
Zeit der Brache III, 2026
Glasierte Keramik
32 x 41 x 31 cm
Daniel Knorr
Depression Elevations, Moon in Water, Frame 38 Turquoise, 2026
Pigmentierter Polyurethanguss, UV-beständig
142 x 142 x 13 cm
Daniel Knorr
Depression Elevations, Moon in Water, Frame 45 Turquoise, 2026
Pigmentierter Polyurethanguss, UV-beständig
126 x 126 x 12 cm
Jörg Sasse
9234, 2024
Pigmentdruck, Ed. 1/4
108 x 170 cm
Jörg Sasse
1492, 2025
Pigmentdruck, Ed. 1/4
80 x 120 cm
Polly Apfelbaum
Pin the Tails, 2026
Ölkreide auf Papier
76 x 57,5 cm
Ernst Caramelle
Querschnitt (bonus), 2016
Aquarell auf Papier, montiert auf Leichtschaumplatte
18 x 26 cm
Sonia Leimer
Fänger, 2026
Kupfer, schwarz-grüne Patina; Unikat
H 220 cm, DM 118 cm
Ignasi Aballí
List (Time) I, 2005
Digitaldruck auf Papier, gerahmt
153 x 108,5 cm
Alice Attie
Disturbances, 2014
Tinte auf Papier
76,5 x 57 cm, gerahmt 81,5 x 61,5 cm
Joëlle Tuerlinckx
Collage d’atelier ‘TYRKIET/AEGYPTEN/APOLLO’ (Sønntag 13. August 1995)-série Remake ‘binaire’/journal, 2017
Collage, Aluminiumrahmen
57,6 x 79,8 cm
Joëlle Tuerlinckx
Collage d’atelier (THE NEW YORK TIMES) -série Remake ‘binaire’/journal´, 2017
Collage, Aluminiumrahmen
57,6 x 69,2 cm
UNLIMITED
Booth U35
Herbert Brandl
Ohne Titel, 2019
Öl auf Leinwand
280 x 980 cm
In collaboration with Galerie Bärbel Grässlin | Frankfurt The work Untitled (2019) holds particular significance within Brandl’s late oeuvre. While large-scale works appear repeatedly throughout his practice, such monumental works with such an expansive, spatial presence remain rare. At the same time, this painting brings together key elements of his practice into an intense pictorial language: the painting process is fast, intuitive, and free of premeditated intent. Following the principle of all-over, gestural applications of paint cover the entire surface of the canvas. Luminous fields of colour—created solely through broad brushstrokes—structure the pictorial space, shifting from deep dark blue to orange, intense red, and vivid yellow. The work suggests an extension of colour and gesture into space—a painterly state in which condensation and dissolution remain in constant tension. In the movement of paint, which mirrors that of the body, and in the atmospheric openness of the pictorial space, the painterly energy that has defined Brandl’s oeuvre over decades becomes visible. Since the 1980s, Herbert Brandl has played a decisive role in shaping international discourse on contemporary art and is considered one of the most significant Austrian painters of his generation. His work received early international recognition: in 1989, Brandl participated in the São Paulo Biennial and in 1992 in documenta IX. In 2007, he represented Austria at the Venice Biennale. From 2004 to 2019, he held a professorship at the Kunstakademie Düsseldorf. In 2025, Herbert Brandl was posthumously awarded the Austrian Grand State Prize.
PARCOURS 2026
MIAO YING
Miao Ying
Training Landscapes No.27 - By human hand and circuit's grace, Advance the world, reshape its place, 2025
Öl auf Leinwand
158 x 280 cm
Miao Ying
Training Landscapes No.26 - In shattered code and broken shell, Rebuild anew, revive the spell, 2025
Öl auf Leinwand
158 x 280 cm
In collaboration with Kiang Malingue, Hong Kong | New York Location: Du Pont [Garage], Greifengasse 2, 4058 Basel Miao Ying’s Mutual Conditioning investigates the reciprocal training processes that govern human cognition and artificial intelligence. Situated within the utilitarian environment of a carpark, the presentation pairs two live simulations with two oil paintings. Operating under datasets rigorously trained and conditioned by the artist, the simulations generate perpetually evolving landscapes composed of generic video-game assets, underscored by AI-voiced poems that traverse themes of technomancy, fantasy politics, and algorithmic ritual. Miao methodically channels the images birthed by these artistic systems into a secondary AI primed for textual interpretation, which are then meticulously translated into oil on canvas by traditionally trained painters. By oscillating between virtual generation and manual execution, Miao stages a loop of production where magic, ideology, and technology converge—revealing the shifting boundaries between human creativity and automated creation.
Photo
- Markus Wörgötter
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