Lehmann Maupin returns to Art Basel with a presentation that foregrounds artists with concurrent and forthcoming solo museum exhibitions around the world this year—including the survey Do Ho Suh: Walk the House at the Tate Modern in London; David Salle: Under One Roof at Storage by Hyundai Card in Seoul; Cecilia Vicuña’s forthcoming exhibition Reverse Migration, a Poetic Journey at the Irish Museum of Modern Art in Dublin; Erwin Wurm: How It Is at the Zuzeum Art Center in Riga, Latvia; and Kader Attia: A Descent into Paradise at CAAC Sevilla in Sevilla, Spain. The presentation will also spotlight a historically significant work by the late Swiss artist Heidi Bucher, whose estate Lehmann Maupin has represented since 2018. Additional highlights include new and recent works by Loriel Beltrán, McArthur Binion, Dominic Chambers, Billy Childish, Mandy El-Sayegh, Tracey Emin, Todd Gray, Kim Yun Shin, Liza Lou, Tammy Nguyen, Catherine Opie, Anna Park, Liu Wei, and Billie Zangewa. Notably, the presentation also includes several photographic wall works by Robin Rhode, whose new site-specific mural Der Botanische Garten will be on view at blu Sport- und Freizeitbad in Potsdam, Germany, prominently visible from DAS MINSK Kunsthaus in Potsdam, beginning June 2025.
As part of the fair’s Unlimited sector at booth U16, Lehmann Maupin will present a monumental painting by Hernan Bas, titled Conceptual artist #37 (he who exclusively paints portraits of conceptual artists who have never existed) (2023)—the artist’s largest work to date. In this recent work from the artist’s Conceptualists series, which debuted in a solo exhibition at the Bass Museum of Art in Miami in late 2023, Bas reimagines absurdity and obsession as foundations of artistic practice, depicting an artist fixated on the portraiture of his fellow (albeit imaginary) conceptual artists.
A selection of works by Do Ho Suh, whose survey The Genesis Exhibition: Do Ho Suh: Walk the House is on view at the Tate Modern in London through October 19, will ground the presentation. Suh’s long-running Specimen series comprises detailed fabric replicas of domestic objects from his past and present residences and studio spaces. In 260-65, Sungbook-dong, Sungbook-ku, Seoul (2021), a key work from the series, colorful fabric doorknobs, electrical outlets, power strips, and more are precisely measured and modeled after their literal counterparts—objects that have been both habitually touched by the artist himself and with which others have a deep and unquestioning familiarity.
The gallery is also pleased to debut several new paintings by Cecilia Vicuña. The artist’s new work Calaca (2024) recreates, in oil on canvas, a fragment of a pastel work that she made in 1978 but which has since been lost or destroyed, existing only in the artist’s memory and in limited photographic documentation. The painting depicts a nude female torso at close range, rhythmically punctuated by a series of small, black skeletons that seem to climb or dance across the body. According to the artist, the work references Mexican Calacas—the joyful skeletons that people embody during the Day of the Dead celebrations, rooted in the ancient indigenous belief that no soul wishes to be remembered with sadness. Vicuña's solo exhibition Reverse Migration, a Poetic Journey opens November 7 at the Irish Museum of Modern Art in Dublin. Notably, Vicuña will be honored on June 19 at the inaugural Art Basel Awards ceremony for Visionaries Shaping the Future of Art as an Icon medal recipient, to take place during the fair.
Lehmann Maupin’s presentation will also include new sculptures by Erwin Wurm and Kader Attia. Wurm is best known for exploring the body as sculpture, using humor as a tool for social critique; in Psyche - As You Like It and Shadow (both 2024), the body is at once absent and present. Wurm’s solo exhibition How It Is is on view at the Zuzeum Art Center in Riga, Latvia through September 14. Nearby, a new sculpture by Attia employs mirrors to both distort and reinforce the viewer's perception, challenging their sense of identity and provoking a contemplation of self and space to emphasize the fluid boundaries of personal and cultural identity. In addition to his forthcoming solo exhibition at CAAC Sevilla (opening June 26), Attia is currently an artist-in-residence at the Louvre Museum in Paris, where he has a studio on-site through June 2025. This fall, Lehmann Maupin will present a solo exhibition of new work by Attia in New York.
Finally, in honor of the artist’s forthcoming centennial in 2026, the gallery will present a significant work by the late Swiss artist Heidi Bucher (b.1926–d.1993), who is best remembered for her innovative use of latex to explore physical boundaries between the body and its surroundings. The latex casting Wandbehang (1977) continues the artist’s Hauträume works—or “roomskins”—which act as indexes of the complicated relationships between our bodies and pasts. Bucher’s work is currently included in the exhibition At the end of my suffering, there was a window at the Zhuzhong Collection in Beijing through October.
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