Lehmann Maupin returns to Art Basel Hong Kong with a selection of new and historic works by our artists from Asia and the diaspora with concurrent and forthcoming institutional and gallery exhibitions—from Paradiso, Tammy Nguyen’s debut solo presentation at Lehmann Maupin in New York; to The Genesis Exhibition: Do Ho Suh: Walk the House at the Tate Modern in London; to Divide One Divide Two, the second leg of Kim Yun Shin’s two-part solo presentation at Lehmann Maupin in New York; to EVERYTHING IS TRUE - NOTHING IS PERMITTED, a group show featuring Mandy El-Sayegh’s paintings at Brutus Space in Rotterdam. Across their practices, these groundbreaking artists engage themes of home and history through geography and technology. The works on view span a variety of mediums, including painting, sculpture, photography, and more.
Additionally, Lehmann Maupin will present a curated selection of paintings by acclaimed American postmodernist David Salle as part of the fair’s Kabinett sector. A key figure of the Pictures Generation, Salle combines commercial imagery, direct observation, and art historical references to create a distinctive visual language. This Kabinett presentation traces the evolution of Salle’s practice by pairing a significant work from the early 2000s with paintings from his two newest series, New Pastorals and Windows. Emphasizing his recent exploration of digital and AI technologies, the selection highlights Salle’s continued experimentation with the possibilities of painting today. To create New Pastorals, Salle worked with an AI training model that exclusively focused on his past works. Struck by the simulations and regurgitation of his own work, Salle manipulated each reconstruction by enhancing their distortions, adding figurative elements, and more. The results evoke whimsy, absurdity, and play. Salle has recently been included in numerous solo and group exhibitions, including the solo presentation A Well-leafed Tree Remixed at Time Square Arts in New York, and DAVID SALLE: NEW WORKS ON PAPER at the Edward Hopper House Museum & Study Center in Nyack, NY.
Highlights include two recent paintings by Mandy El-Sayegh that feature her signature process of collaging and manipulating found materials—such as sourced newspaper and magazine clippings, joss paper, images from advertisements, and more—to create densely layered compositions. In Net-Grid (tread tessellation) (2024), El-Sayegh screen-prints a grid motif over such fragments, creating an illusion of unity that functions to simultaneously contain and obscure information. Assembling the fragments in a Mondrian-esque grid format, Net-Grid gestures towards Minimalism, yet teems with imagery and information. For El-Sayegh, this contrast between structure and oversaturation reflects our contemporary relationship to media consumption. El-Sayegh’s work is currently on view in EVERYTHING IS TRUE - NOTHING IS PERMITTED at Brutus Space in Rotterdam. In May, El-Sayegh’s work will be on view in the Brent Biennale in London and at Kummelhomen in Stockholm.
The booth also features Mother! (2024), a new painting by Tammy Nguyen that weaves Plato’s dialogue Timaeus alongside the global maritime practice of the “flags of convenience.” Here, Nguyen delves into the formation of world order, nationhood, and the edges of national identity. Nguyen is best known for her interdisciplinary practice, encompassing painting, prints, drawings, unique artist books, and a publishing press. Across these mediums, Nguyen probes the contrast between form and content, using her ornate and dense visual aesthetic to explore the complex intersections between geopolitics, ecology, and literature. Nguyen’s work is currently on view in Weaving As Method: Intertwining Postcolonial Narrative in Contemporary Southeast Asian Art at the Hood Museum of Art in Hanover, NH, as well as in the Giuseppe Iannaccone collection at the Palazzo Reale in Milan. Paradiso, Nguyen’s debut solo presentation at Lehmann Maupin in New York, will open in June 2025.
The presentation includes paintings and sculptures by Kim Yun Shin, whose practice fuses Korean and Latin American traditions and aesthetics in a unique and idiosyncratic visual language. In Kim’s Song of My Soul series, she incorporates silhouettes of hapchukseon (a folding bamboo fan) alongside geometric patterns and colors inspired by Indigenous Mapuche traditions. Rendering these symbols in bright colors, Kim highlights the similarities between traditional Korean symbolism and ancient Western designs. Kim’s inclusion in the booth precedes the New York leg of her two part exhibition at Lehmann Maupin—Add One Add Two in London, which closed March 15, and Divide One Divide Two in New York, which opens April 3.
Additionally, several paintings and Precario drawings by Cecilia Vicuña will be on view at the booth. In her paintings Hombre tigre (2024) and Fauna chilena (1978/2024), Vicuña recreates, in oil on canvas, drawings she made in 1978 but which have since been lost or destroyed, existing only in the artist’s memory and in limited photographic documentation. In response to her journey across the Amazon in the late 1970s, Vicuña made 30 drawings in chalk and pastel on brown wrapping paper. Many of these works contain references to Orixás––deities worshiped in the Yoruba religion which Vicuña learned of during her time crossing the Amazon––combined with popular culture images collected from her dreams, popular songs, common phrases, and other vernacular sources such as common insults used in her native Chile. In the paintings on view, Vicuña brings these original drawings of Orixás back to life in hybrid forms. Opening November 2025, Vicuña will have a solo exhibition entitled Reverse Migration, a Poetic Journey at the Irish Museum of Modern Art in Dublin.
Additional highlights include a painting by Hernan Bas, who will have a solo exhibition of new work at Lehmann Maupin in Seoul this spring, opening April 10; alongside works by Dominic Chambers, Billy Childish, Teresita Fernández, Chantal Joffe, Do Ho Suh, Sung Neung Kyung, Marilyn Minter, OSGEMEOS, Lari Pittman, Erwin Wurm, and Billie Zangewa.
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