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ART BASEL 2026
Booth S22June 15 - 21, 2025
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Eduardo Terrazas
Eduardo Terrazas (b. 1936, Mexico) draws from a geometric language and a method inspired by the tablas of the Huichol, an Indigenous Mexican tribe. Using symmetrical structures as matrices for countless variations, Terrazas explores cosmic concepts, placing the earth at the center and the celestial dome at the periphery, while essential forces – gravitational, electromagnetic, and nuclear – compete for the space in between.The technique involves affixing colored wool onto wooden panels coated with Melipona bee wax, acting as an adhesive. The thread moves along, reproducing the lines, curves, meanders, and changes of direction required by the motif. This process entails tirelessly repeating back and forth movement, during which each strand is tightly glued along the previous one, leaving no gaps or openings between them. -
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Lea Porsager
Lea Porsager (b. 1981, Denmark) works at the intersection of fabulation and speculation, spanning film, sculpture, photography, and text. Drawing from science, politics, feminism, and esotericism, she translates complex cosmologies into tactile, time-based forms. With a distinct interest in energy – both physical and metaphysical – Porsager creates experiences that challenge binary thinking and linear time, drawing viewers into fields of entangled meaning.T.I.P. (tacless, inert, perverse) (2024) presents seven disassembled tips from wind turbines, scattered across the floor. Sourced from the world’s first offshore wind farm near the coast of Vindeby, Denmark, and decommissioned in 2017, these fragments evoke both a historical symbol of visionary power and a contemporary emblem of sustainable energy.Porsager uses industrial materials to explore esoteric, often sexually charged themes. Here, she challenges the assumption that clean energy can sustain life without consequence. The wind turbine tips – once symbols of sustainability – now form a poignant ruin, a fallen monument to green idealism. Beyond their material form, these components shed their identity as mere art objects, becoming debris, measuring tools, severed limbs, or ritualistic instruments. Her approach merges imaginative inquiry and physical process, pushing perception into new dimensions while questioning the promises and limits of progress. -
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Carlos Amorales
Carlos Amorales (b. 1970, Mexico) is a multidisciplinary artist who explores the limits of language and translation systems to venture into the field of cultural experimentation. He uses graphic production as a tool to develop linguistic structures and alternative working models that allow new forms of interpretation and foster collectivity. In his projects, Amorales examines identity construction processes, proposes a constant re signification of forms present in his work, and provokes a clash between art and pop culture.
Fragmented Star (Typographical) 09 ( (2023) is a collage composed of painted cardboard cut-outs on linen. The work continues Amorales’s investigation into abstraction, fragmentation, and visual language. The cut shapes echo typographic forms – familiar yet unreadable – suggesting a language stripped of semantic meaning. Through rhythm, colour, and spatial arrangement, Amorales proposes an alternative mode of communication rooted in intuition and visual perception. The work builds on earlier series in which collage and repetition function as tools for exploring the limits of language and understanding. -
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Rebecca Lindsmyr
Rebecca Lindmyr’s vermilion border (2025) refers to the upper edge of the lip, the point where language becomes visible and takes form. The curved shape reflects repetition and the movement of reading, speaking, and responding: a word is seen, understood, and briefly turned into something material before its meaning begins to shift or fade. The painting focuses on these moments of transition – between inside and outside, appearance and disappearance, recognition and loss.
The title also refers to vermilion, a rich red pigment with a long history in painting and dye-making. Historically extracted from the bodies of female scale insects found on Mediterranean oak trees, the pigment was created through a process of breaking apart and releasing colour. This process of repetition, transfer, and transformation connects to Lindsmyr’s recent work, which explores how identity and meaning are shaped and reshaped over time. Through layering, screen printing, masking, and the repeated use of her handwritten signature, her works move between personal expression and reproduction, where traces of the self become repeated and altered.
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Torbjørn Rødland
Torbjørn Rødland’s (b. 1970, Norway) photographs are produced through film-based cameras and chemical processing. His self-aware and often uncanny photographs, films, and books are saturated with symbolism, lyricism, and eroticism. They take on existing visual forms and genres from still lives to portraits to landscapes, but without the research tone of first-wave conceptual art or the ironic commentary of the subsequent Pictures Generation.In his work, Rødland attempts to seize and integrate truth, rather than deconstruct it, reflecting his inclination to delve into the problematic aspects of contemporary photography and the history of art. He probes popular visual languages in search of both spiritual and perverse qualities, aiming to prolong our engagement with both still and moving images. His works do not offer quick readings; instead, they invite us to explore the layered nature of each image, encouraging personal interpretations based on our cultural, political, and personal contexts. -
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Tove STorch
In her eccentric and densely sensuous sculptures, Tove Storch investigates the interaction between material and motif. Oscillating between the everyday and the alien. Fueled by an intimate knowledge of the materials chosen, these works allow the contours of something figurative to emerge. Unpredictable and ambiguous, her works let their subjects make themselves known even as they simultaneously threaten to disappear into the realm of abstraction.
Storch is keenly interested in the limits and capabilities of materials. In some works she investigates the elasticity of silk, in others she portrays strong, rough metal as something pliable and limp. Treated with tenderness and precision, the materials reveal unknown aspects of themselves, their immediately apparent qualities receding in the articulation of something new and unexpected. Specifically, Storch often offsets tension and slackness in her study of different positions of strength: Can silk break down metal? How does the liquid shape the solid? What effect does time have on form? Through their colours, subject matter and attitudes, the works weave themselves into archetypal narratives about gender, romance and sexuality while also wrestling themselves loose from preconceived readings with quiet grace.
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Ikram Abdulkadir
Ikram Abdulkadir is a Swedish-Somali photographer working within a documentary photographic tradition. Her images emerge from close relationships with people and places around her, portraying everyday life in urban and domestic environments. Through a quiet and attentive visual language, Abdulkadir explores themes of care, belonging, and community, focusing on the relationships and emotional ties that shape shared spaces. Her work reflects on how personal and collective histories are carried through gesture, environment, and presence.Ikram Abdulkadir lives and works in Malmö, Sweden. Born in Nairobi, Kenya, in 1995, she has presented solo exhibitions at Fotografiska Stockholm (2023), Centrum för fotografi Stockholm (2024), Arbetets museum, Norrköping (2025), and Moderna Museet Malmö (upcoming, 2026). Her work has also been shown internationally, including at Les Rencontres d’Arles (2023), and is represented in several public collections, including Moderna Museet, Malmö Konstmuseum, Fotografiska Stockholm, and Nationalmuseum Stockholm. -
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Matthew Ronay
Matthew Ronay's (b. 1976, USA) dyed basswood sculptures invite viewers into a realm where tangible forms intertwine with metaphysical energies. Rooted in automatic drawings, his works tap into deeper layers of consciousness, unveiling hidden aspects of the psyche.
Succuloid (2019) leaves viewers uncertain: Is this an underwater formation, a plant-like structure, or perhaps something not carbon-based at all? By deconstructing context, Ronay creates parables of the family, ultimately challenging perceptions of reality. This interplay reveals the core of his artistry, grounded in a profound understanding of form. Seemingly disparate objects come together in a surprisingly synthesized way, immersing viewers in a tactile experience that prompts reflection on the interconnectedness of humanity and the natural world. -
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Davide hjort di fabio
Davide Hjort Di Fabio’s sculptures emerge through processes of casting, repetition, and material transformation. Often beginning with fragments of his own body, the works move away from direct representation and become unfamiliar forms that sit between the bodily and the architectural, the intimate and the constructed. Rather than presenting the body as fixed or complete, his practice explores it as something in constant transition – shaped through memory, sensation, and its surroundings.
In Sleepwalker (2026), a glazed stoneware form originating from a cast of the artist’s torso rests on stacked perforated ceiling panels sourced from hospital interiors. Through processes of reshaping and transformation, the body becomes abstracted into a dense yet soft form that appears held, compressed, or slowly changing shape. The support structure introduces an architectural language associated with care, waiting, and institutional space, while the sculpture resists clear identification. Together, the elements create a tension between vulnerability and containment, where the body appears less as an image than as a shifting condition.
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Violeta Maya
Violeta Maya’s work is rooted in her engagement with interaction and moving image, shaping a painterly practice that centres on time, process, and transformation. Her approach brings together sequential thinking and intuitive responsiveness, allowing each work to unfold in relation to the next and forming a continuous visual field rather than discrete compositions. At its core, her practice understands painting as something that happens over time – where duration, rhythm, and accumulation are not only formal concerns but conceptual ones. Drawing on both contemporary ideas of temporality and the expressive intensity of the Baroque, her paintings articulate shifting atmospheres in which color and gesture evoke states of emergence, tension, and flux.
This conceptual focus extends into her handling of materials, where the balance between control and contingency becomes central. Working primarily with wet-on-wet techniques on unprimed canvas, Maya allows pigments to move, absorb, and interact beyond her full control, positioning the medium as an active collaborator. The resulting surfaces hold a dynamic tension between intention and material behavior, challenging fixed authorship and emphasizing process as meaning. Expanding into multi-panel works and sculptural forms inspired by Japanese screen traditions, she introduces permeability and spatial interaction, reinforcing her interest in continuity, movement, and the dissolution of boundaries.
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Installation views
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For general inquiries, please contact: inquire@nilsstaerk.dk
