[Ropac] Art Basel Miami 2025 Preview
![[Ropac] Art Basel Miami 2025 Preview](/art-research/archive/ropac-art-basel-miami-2025-preview-page-0007.webp)
正文与记录 · 第 1 页
Art Basel Miami Beach 3—7 December 2025 Booth F11
正文与记录 · 第 9 页
Joan Miró Femme et oiseau, 1982, cast 1999 Bronze 330 × 73 × 60 cm (129.92 × 28.74 × 23.62 in) Ed. 1 of 4 (JM 1016.1)
正文与记录 · 第 16 页
The renowned British sculptor Tony Cragg explores the complex relationships between the natural and man-made world to create an innovative, distinctive sculptural language. Originally informed by British land art and performance art, his work is inspired by the macro and micro structures found in nature, as well as an engagement with industrial materials and processes. The structure of Drawn Figure (2015) recalls natural geological forms, such as the weathering of rock by the forces of wind and water. Though cast in gleaming stainless steel, any sense of permanence is undermined by the impression of ephemerality created by its highly polished surface, which reflects fugitive changes in the surroundings, including light and movement. The sculpture’s delicate, undulating forms suggest rivulets of water, as if frozen in motion, but also hint at human profiles that seem to emerge and disappear in its curves. Tony Cragg Drawn Figure, 2015 Stainless steel 285 × 85 × 89 cm (112.2 × 33.46 × 35.04 in) Version 1 (TC 1148)
正文与记录 · 第 25 页
Sigmar Polke Lapis Lazuli, 1994 Lapis lazuli and resin on canvas 240 × 200 cm (94.49 × 78.74 in) (SP 1025)
正文与记录 · 第 31 页
Imi Knoebel Etcetera CCIX, 2025 Acrylic and aluminium 239.2 × 186.4 cm (94.17 × 73.39 in) (IK 1557)
正文与记录 · 第 39 页
Hans Josephsohn Untitled (Verena), 1985 Bronze 123 × 64 × 47 cm (48.43 × 25.2 × 18.5 in) Ed. 1 of 6 + 2 AP (HJ 1097.1)
正文与记录 · 第 45 页
Martha Jungwirth Hier die ersehnten Maße meines Juwels (Here are the long-awaited dimensions of my jewel ), 2025 Oil on board 31 × 41 cm (12.2 × 16.14 in) (MJ 1548)
正文与记录 · 第 54 页
Eva Helene Pade Sol, 2025 Mixed media on linen Overall 210 × 430 cm (82.68 × 169.29 in) (EHP 1028) Danish-born, Paris-based artist Eva Helene Pade is drawn to the commotion of the ensemble – how, within a crowd, a single figure might begin to lose distinction, morph into another, or distort as it surges and contracts. In the monumental tripartite Sol (2025), a cast of jewel-toned bodies gathers in a thrumming, indeterminate space that recalls a nightclub. Beams emanate from a searchlight, roaming like watchful eyes and perforating the crowd in a way that feels at once violent and euphoric. The female body is central to Pade’s practice, making up the majority of the figures in her crowd scenes. Departing from art-historical traditions, it is depicted not as an object of gaze or individual identity, but as a vehicle of collective expression and embod - iment. ‘I approach figures more like a colour palette, vessels for emotions,’ she says. For Pade, the body forms part of a primal, instinctive language, like a brushstroke, a gesture or a dance.
正文与记录 · 第 60 页
Yan Pei-Ming Head of a Lion, Wild Gaze, 2025 Oil on canvas 142.5 × 142.5 cm (56.1 × 56.1 in) (YPM 1238) Yan Pei-Ming has long been fascinated by the beguiling visual power of wild beasts and predators. This 2025 painting takes on the codes of portraiture, depicting a lion close-up and larger than life to encourage the viewer to read its expression like one might read a human face. Much like his renowned predecessors Peter Paul Rubens (1577–1640) and Eugène Delacroix (1798–1863), Yan Pei-Ming is masterful in his ability to render the concentrated energy of the creature. He transposes the masters’ theatrical drama into his own distinctive painterly language of impassioned brushstrokes and drips of paint in his signature monochrome. In addition to drawing inspiration from traditional art-historical references, Yan Pei-Ming’s painting reflects the influence of his heritage: auspicious creatures in Chinese mythology, pairs of ornamental lions traditionally guard imperial palaces and tombs, fending off evil spirits and people. Yan Pei-Ming: Eye to Eye is currently on view at Thaddaeus Ropac Pantin until 23 December 2025. His monumental triptych A Burial in Shanghai is also exhibited at the Museum of Contemporary Art San Diego, until 4 January 2026.
正文与记录 · 第 67 页
This work from 2025 is part of Erwin Wurm’s series of Box People , sculptures in which headless human figures are suggested by clad, box-like torsos. Struck by the hollowness of classical bronze sculptures which reminded him of empty garments, Wurm began experimenting with clothes in the 1980s, exploring their volumetric possibilities as a sculptural medium. In the present work, a trunca- ted figure stands atop a rocky platform, its legs supporting a box-shaped bust wearing a double-breasted coat – formal attire that echoes the solemn nature of the marble, conveying the titular deputy’s social status. At once playful and uncanny, the disembodied sculpture ties into Erwin Wurm’s ongoing interro - gation of the role of the individual in the rapidly changing social, political and environmental conditions of the contemporary world, and particularly the po - tential absence of humanity in post-anthropocentric futures. As Max Hollein, art historian and director of The Metropolitan Museum of Art in New York, has said of Wurm, ‘he has succeeded in conveying to a large audience, in a hugely suggestive way, the tragedy of its own social condition.’ An exhibition of Erwin Wurm’s new sculptures will open at Thaddaeus Ropac Paris Pantin on 17 January 2026. Erwin Wurm Deputy (Box People), 2025 Marble 200 × 50 × 65 cm (78.74 × 19.69 × 25.6 in) (EW 2111)
正文与记录 · 第 73 页
Rachel Jones a shorn root, 2022 Oil stick and oil pastel on canvas 31.5 × 25.5 cm (12.40 × 10.03 in) (RJ 1102) You can use colour and shape and form to speak to people in a way that isn’t about a spoken language, it’s about emotion and inciting feelings that don’t have to be explained or expressed. It’s responsive, it’s instinctive, and a core part of all of us. — Rachel Jones
正文与记录 · 第 80 页
Art Basel Miami Beach 3—7 December 2025 Booth F11 Private Days (by invitation only) First Choice: Wednesday 3 December, 11am—7pm Preview: Wednesday 3 December, 4—7pm First Choice and Preview: Thursday 4 December, 11am—7pm Vernissage Thursday 4 December, 4—7pm Public Days (access with a ticket or a VIP Card) Friday 5 December, 11am—6pm Saturday 6 December, 11am—6pm Sunday 7 December, 11am—6pm Venue Miami Beach Convention Center 1901 Convention Center Drive Miami Beach, FL 33139