At Art Basel Paris, we look forward to welcoming you to booth G2 (South-East Gallery, First Floor), where we are delighted to premiere new works by Annika Elisabeth von Hausswolff, Tony Matelli, Sabine Mirlesse, Ailbhe Ní Bhriain, Sally von Rosen and Xavier Veilhan.
Annika Elisabeth von Hausswolff (b. 1967, SE)
Von Hausswolff is renowned for her intensely powerful photographic and conceptual work that came to define a new generation of photo-based artists in the Scandinavian context. Known for her meticulously composed images, often taking a documentary approach, she has developed a compelling practice addressing the body, violence, perception, and representation, frequently charged with deep psychological tension.
For Art Basel Paris, von Hausswolff will present new works to coincide with A Song for Europe, her solo exhibition at our Paris gallery from 17 October to 21 November 2026.
Her work has been the subject of numerous institutional exhibitions, including representing Sweden at the Venice Biennale and retrospectives at Magasin III Stockholm (Magasin III – Museum for Contemporary Art, Stockholm), the Hasselblad Foundation, Gothenburg, and Moderna Museet, Stockholm and Malmö. Other institutional solo exhibitions include ARoS Kunstmuseum, Aarhus, Denmark; La Conservera, Murcia, Spain; and Statens Museum for Kunst, Copenhagen, Denmark. Her work is held in numerous collections worldwide.
Tony Matelli (b. 1971, US)
Matelli works in a variety of sculptural techniques and materials, his œuvre displaying an uncanny fusion of conceptual clarity and technical breadth. Many issues of his generation – alienation, ambivalence, and decadence – manifest themselves directly in his work. There is an element of provocation in Matelli’s work; a protest against playing by the universally accepted rules or conventions that exist as an inseparable part of the world that surrounds us. His sculptures can best be described as anti-monuments, re-interpreting the tradition of hyperrealism in American sculpture.
We are pleased to present a new painted bronze sculpture by Matelli depicting an upright, suspended arrangement of tableware. Used plates and cutlery, crumpled napkins, and empty bottles and glasses hover at eye level, evoking the iconography of still-life painting while showcasing the illusionistic mastery of Matelli’s trompe l’oeil practice.
Recent exhibitions include a retrospective at the Yu-Hsiu Museum of Art, Taiwan (2025/2026), KMSKA Antwerp (2025), Hamburger Kunsthalle (2024/2025), Palazzo Bonaparte, Rome (2023) and Musée d’Arts de Nantes (2023). His work is included in the collections of ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Bergen Kunstmuseum, Bergen, Norway; Bonnier Collection, Stockholm, Sweden; CCA Andratx, Majorca, Spain; Cranbrook Art Museum, Cranbrook, USA; The Davis Museum, Wellesley, MA; FLAG Art Foundation, New York, NY; FRAC Bordeaux, France; Magasin III – Museum for Contemporary Art, Stockholm, Sweden; and Mudam Luxembourg, Luxembourg, among many others.
Sabine Mirlesse (b. 1986, FR-US)
Mirlesse explores thresholds, perception, and the inner life of landscapes. Through sculpture, photography, installation, video, and writing, she builds layered works that reveal hidden geological narratives and mineral cosmologies, creating immersive and materially rich environments.
For Art Basel Paris, Mirlesse will premiere a series of cast bronze and blown glass works rooted in her ongoing research into hydromancy. The sculptures are cast from collected seaweed using an experimental bronze coulé technique, resulting in ethereal and organic forms that capture the fluidity and fragility of natural elements.
Following her acclaimed debut solo exhibition, Voyant (Paris, 2024), Mirlesse was featured in the Bibliothèque nationale de France’s major exhibition Apocalypse. Hier et demain (2025). She continued this trajectory with presentations at Château La Coste and the Centre Wallonie-Bruxelles, as well as her international first solo exhibition, Instruments (Stockholm, 2025). The exhibition included Ode to Measurement, a large-scale public sculpture installed in the waters off the island of Skeppsholmen.
Ailbhe Ní Bhriain (b. 1978, IE)
Ní Bhriain investigates how histories are constructed and transmitted through images, objects, and institutions. Working across film, photomontage, CGI, tapestry, and installation, she creates layered visual environments drawn from archival material, museum displays, and sites of architectural or environmental ruin. Her associative narratives and surreal visual language craft immersive, thought-provoking experiences.
We are pleased to present a monumental Jacquard tapestry from Ní Bhriain’s celebrated Interval series. Woven in silk, wool, cotton, and Lurex, this work is a collage of found imagery featuring Victorian portraits, once used to convey permanence and authority, placed in dialogue with scenes of contemporary ruins, creating a layered meditation on the fragility of structures and narratives over time.
Recent solo exhibitions include the Hugh Lane Gallery, Dublin; Lismore Castle Arts, Waterford; and Kunsthal Gent, Belgium, alongside group presentations at the Triennial of Photography Hamburg 2026, Photo Museum Ireland, MAC Lyon, the Innsbruck International Biennial, the Lahore Biennale, Ulster Museum, and Lagos Photo Festival. Her work is found in many collections, including the Dallas Museum of Art, USA; MAC Lyon, France; the Arts Council of Ireland; Trinity College Dublin, Ireland; the Irish Museum of Modern Art, Dublin, Ireland; the Hugh Lane Gallery, Dublin, Ireland; the Ulster Museum, Belfast, Ireland; and Harvard Art Museums, Cambridge, USA, among others.
Sally von Rosen (b. 1994, SE)
Berlin-based von Rosen is rapidly gaining international attention. Intuition and theory converge in her sculpture and performance-based practice which challenges conventional subject-object relations. Her sculptures often manifest as hybrid forms, balancing liveliness and morbidity, rawness and refinement, and a recurring element in her work is a playful yet unsettling quality, challenging the viewer’s perception by suggesting movement and intention. Her works explore contrasts between the natural and the fantastical, fostering dialogues about humanity’s connection to the unknown and the future.
Following her critically acclaimed solo exhibition On Three Legs in our Stockholm gallery earlier this year we are proud to present a new series of bronze sculptures at the fair.
In recent years, her work has been exhibited at institutions such as Bonniers Konsthall; Kunstmuseum Den Haag; Kunsthalle Recklinghausen; Kunsthal Aarhus; and Schinkel Pavillon. Her first institutional solo exhibition will be presented in June 2027 at Kunstverein Göttingen in Germany. This year, her work has been presented in group exhibitions at Gothenburg Art Museum, Mendes Wood DM, Brussels, and at Pace Gallery, Berlin. In June, her large-scale sculpture Asta inaugurated Plinten – a new space for public art in the Stockholm city centre.
Xavier Veilhan (b. 1963, France)
Represented by Andréhn-Schiptjenko since 1993, Xavier Veilhan is arguably one of the most important artists of his generation. Veilhan’s work is multi-faceted, encompassing sculpture, installation, painting and photography, hybrids of all of these, and he is also engaged in performance work and filmmaking. He plays with the notions of the generic, of the industrially produced object and of universal representation, creating objects at once ambivalent and stark. Veilhan addresses issues of perception as well as the physical and temporal relationships created within the context of the exhibition format.
The work on display in our booth mark a return to painting and we are pleased to announce an upcoming solo-exhibition with Veilhan in our Paris gallery for early 2027.
His work has been exhibited worldwide in acclaimed institutions including the FRAC Pays de la Loire (2024), the Musée du Louvre (2021), the Centre Georges Pompidou, the Phillips Collection in Washington, MAMCO Geneva, the Château de Versailles and in 2017 at the 57th Venice Biennale, for which he transformed the French Pavilion into the critically acclaimed Studio Venezia.
Veilhan also frequently works in the public space. Inaugurated in the autumn of 2020, Vårbergs Jättar is Sweden’s largest public commission to date. Other large permanent works have been installed recently in the cities of Mons, Belgium (Saint-Georges et le Dragon), Versailles (Molière, 2022) Lille (Romy, 2019) and Lausanne (La Crocodile, 2019, with Olivier Mosset).
Veilhan’s work is present in a wide range of major institutions across Europe, Asia and the Americas and his practice has been the subject of well over two dozen monographic publications.
