Art Basel
Hong Kong2026
Herbert Brandl
Bernard Frize
Katharina Grosse
Sheila Hicks
Daniel Knorr
Lee Jiyen
Miao Ying
Jongsuk Yoon
Fair
Private View25 – 26 MAR 2026
Public View27 – 29 MAR 2026
Herbert Brandl
Ohne Titel, 2022
Acryl auf Leinwand
80 x 60 cm
Herbert Brandl
Ohne Titel, 2013
Öl auf Leinwand
130 x 190 cm
Bernard Frize
Arpan, 2025
Acryl und Harz auf Leinwand
120 x 120 cm
Katharina Grosse
Ohne Titel, 2025
Acryl auf Leinwand
203 x 139 cm
Sheila Hicks
Memoires, 2024
Leinen, Baumwolle, synthetische Fasern, Polyester über Holzpaneel
50 x 50 cm
Sheila Hicks
Pensées, 2024
Leinen, Baumwolle, synthetische Fasern, Polyester über Holzpaneel
50 x 50 cm
Jongsuk Yoon
Ohne Titel, 2015
Öl auf Leinwand
170 x 130 cm
Jongsuk Yoon
März, 2016
Öl auf Leinwand
60 x 70 cm
Miao Ying
Training Landscapes No.40 — Across scripted plains where futures comply, belief takes form as colors apply, 2026
oil on canvas
150 x 70 cm (59 x 28 in.)
Miao Ying
Technomancy at Lava pit, 2023
Live-Simulation am Computer, unendliche Länge, MacMini, Edition 6 + 2AP, ed. 1/6
Daniel Knorr
Depression Elevations, Moon in Water Frame 44, 2026
Pigmentierter Polyurethanguss, UV-beständig
127 x 128 x 12 cm
Daniel Knorr
Depression Elevations, Moon in Water Frame 75, 2026
Pigmentierter Polyurethanguss, UV-beständig
123 x 123 x 6 cm
Daniel Knorr
Sculpted Platforms, Oak Leaf, 2026
bronze; unique
96 x 22 x 18 cm (38 x 8 5/8 x 7 in.)
EUR 25,000
exkl. USt.
Kabinett: Lee Jiyen
Lee Jiyen’s work unfolds at the intersection of science, philosophical reflection, and sensory perception. The work group RGB exemplifies this approach: they are created using photonic crystal dispersion, a material originally developed for anti-counterfeiting. Its nanoscale particles reflect specific wavelengths of light, producing color not through pigment but through structural interaction—refraction and interference. Color thus appears as a phenomenon, dependent on light, space, and the act of observation. Lee applies the dispersion between acrylic plates, allowing pressure and fluid movement to generate unpredictable forms. The process captures a moment in which intention and chance converge. What begins as a directional gesture becomes a surface shaped by the material’s flow. Fixed through UV curing, the image retains this transient state—both controlled and contingent. A central element is the interplay of light and shadow: a gap behind the panel allows light to pass through the material, casting colored shadows that merge with the visible image. This creates a dual composition—one of light, one of shadow—evoking structures of growth, transformation, and interconnection. As the artist herself asks: “Can this still be called a painting?” – for the work is less a depiction and more a moment in which light, material, and shadow converge. Rather than depicting phenomena, Lee makes their conditions visible. Her works shift with changing light and perspective, inviting reflection on the relationship between microscopic detail and larger systems. In this sense, RGB does not simply refer to a color model, but to the way the world reveals itself through perception—fluid, relational, and continuously in formation. Furthering her exploration, the Stain-Rainbow Forest series treats light as a relational phenomenon rather than an isolated effect. Drawing on quantum physics and Buddhist thought, Lee shows how perception actively shapes reality, with color spectra shifting according to the observer and the surrounding environment. Using nano-pattern replication and 3D printing, she creates ephemeral, spatial structures that evolve through interaction, challenging the notion of sculpture as fixed. In this way, the rainbow becomes not only a visual event but a metaphor for interdependence: a moment that exists only through connection. In parallel, the Seed series explores microcosmic beginnings through small, modular sculptures that act as proto-forms of larger systems. Often movable and reconfigurable, these works highlight potentiality and transformation. Like her rainbow installations, the Seeds emphasize relationality, showing that even the smallest unit gains meaning only through its connections with environment and observer.
Lee Jiyen
Stain-Rainbow forest s1, 2026
Nanofolie, Edelstahlrahmen, Aluminiumrahmen, Silikonring
215 x 140 x 120 cm
Lee Jiyen
RGB3, 2026
Photonen-Kristall-Dispersion, UV-geschütztes Acryl, Leinwandplatte, Rahmen aus Edelstahl
101 x 145 x 7 cm
Lee Jiyen
Seed #14-1, 2026
3D-Edelstahldruck
28,3 x 31,2 x 9 cm
Lee Jiyen
Seed #1within, 2026
3D-Edelstahldruck
36,3 x 37,3 x 1 cm
Lee Jiyen
Seed #16-1, 2026
3D-Edelstahldruck
DM 36 cm
Inquire about the artist/s, presented or related artworks
