[Ropac] Art SG 2026 - Preview
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Featured artists Miquel Barceló Georg Baselitz Oliver Beer Tony Cragg Mandy El-Sayegh Antony Gormley Han Bing Hans Josephsohn Martha Jungwirth Lee Kang So Alex Katz Roy Lichtenstein Robert Longo Robert Rauschenberg Tom Sachs David Salle Sean Scully Joan Snyder Zadie Xa Zao Wou-Ki
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In this painting from 2021, Martha Jungwirth’s inimitably spare, yet expressive brushwork coalesces at the centre of the canvas, gesturing towards the purely abstract while simultaneously alluding to the titular bouquet of flowers. In the vanitas still life tradition, wilting flowers were among the many symbolic objects used by painters as metaphors for the perishability of human life and its pleasures. Here, Jungwirth’s bouquet appears caught between bloom and decay as pink, purple and orange-smudged flowers rise up above grey and black drooping heads. She works in concert with her materials, often responding to the more visceral qualities of both the paint and its support. Smeared fingerprints and impasto splatters are a testament to her physical, embodied approach. The painting was recently included in the artist’s major solo exhibition at Museum Jorn in Silkeborg, Denmark in 2025, the first comprehensive presentation of Jungwirth’s art Scandinavia. Martha Jungwirth Ohne Titel (Blumenstrauß) , 2021 (detail) Oil on paper on canvas 296.6 x 91.6 cm (116.77 x 36.06 in) (MJ 1152)
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In celebration of his centenary, a wide-ranging programme of exhibitions dedicated to the artist is taking place in 2025-26. At present, the artist is the subject of the solo exhibition Robert Rauschenberg and Asia at M+, Hong Kong (until April 2026), as well as solo exhibitions at the Virginia Museum of Fine Arts (until 26 January 2026); Menil Collection, Houston (until 1 March 2026); Grey Art Museum, New York (until 11 April 2026); Museum of the City of New York (until 19 April 2026); NSU Art Museum Fort Lauderdale (until 26 April 2026); Academy Art Museum, Easton (until 3 May 2026); and Solomon R. Guggenheim Museum, New York (until 3 May 2026). Additional solo exhibitions of his work will open at the Nasher Sculpture Center, Dallas (from January 2026); Museo Nacional Thyssen-Bornemisza, Madrid (from 3 February); and Kunsthalle Krems, Austria (from 25 April 2026). Rauschenberg on Dasar Sabak beach, a fishing village near Kota Bharu, during his ROCI MALAYSIA research trip, 1989. Courtesy of the Robert Rauschenberg Foundation, New York.
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Alex Katz Lilies 7, 2025 (detail) Oil on linen 153.2 x 122.5 cm (60 x 48 in) (AKZ 2534) Two white lilies emerge over a pale turquoise ground, reaching to create a single, entwined form. While Alex Katz has painted flowers since the 1960s, recent works such as Lilies 7 (2025) mark a departure from his earlier treatments of the subject. ‘They’re more descriptive of volumes,’ he says, ‘more sculptural.’ Framed as a cinematic close-up so that just the flower heads, flecked with dark stamens, are visible, Katz’s lilies invoke a striking feeling of immediacy. The artist typically works en plein air, creating small studies from life which are then transferred onto monumental canvases in his studio. He works quickly, using a wet-on-wet technique to distil an impression of the scene. This method is ‘Katz’s way of staying true to the shock of the original perception,’ says poet and critic John Yau. ‘His subject is the present tense of seeing, not something recollected in tranquility.’
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Antony Gormley THRESHOLD II , 2023 Inkcap on paper 38.2 x 28 cm (15.04 x 11.02 in) (AG 1891)
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Joan Snyder Come to Pearl Pond, 2024 Oil, acrylic, burlap, paper mache, poppy pods, rose buds, dried flowers, straw, paper and ink on canvas In two parts: 121.92 x 121.92 cm (48 x 48 in) (JSN 1099)
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David Salle Power Suit, 2025 (detail) Oil, acrylic, flashe and charcoal on archival UV print on linen 104.14 x 132.08 cm (41 x 52 in) (DS 1199)
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Zadie Xa Abalone, 2025 (detail) Oil paint and oil bar on stitched linen 170 x 130 cm (66.93 x 51.18 in) (ZX 1087) Abalone (2025) is part of a new body of work by Zadie Xa, created from cut linen pieces, sewn together in an irregular gridded format that seems to spiral inwards, drawing the viewer into its centre. Inverting the stitched linen, Xa lays bare the seams and unfinished edges of the fabric to create a sculptural relief within which she organises colour. An array of jewel-like oranges, pinks and blues are structured alongside warm, earthier tones that capture the artist’s nostalgia for her native Vancouver. Stemming from her deep interest in the history of art and craft, over the years, diverse modes of textile production have become a central strand in Xa’s practice. This work evokes traditional Korean bojagi patchwork as well as Modernist grids, though the artist was also reminded of Louise Bourgeois’s spider web tapestries as she echoes the hypnotic, tessellated patterns found in nature. In 2026, the artist will present solo exhibitions at the Esker Foundation, Calgary; Power Plant Contemporary Art Gallery, Toronto; and Guggenheim Museum Bilbao.
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Tom Sachs Still Life with Skull and Pitcher, 2023 Synthetic polymer and Krink on canvas 121.9 x 152.4 cm (48 x 60 in) (TSA 1472) Still Life with Skull and Pitcher (2023) is part of Tom Sachs’s “Painting” series, in which he recreates paintings by Pablo Picasso, created during the artist’s so-called ‘War Years’ (1937–45), a period in which he was heavily impacted by the horrors of the Second World War. Reproducing the original brushstrokes and forms made by Picasso, Sachs highlights the parallels with his own practice – namely the distinctive, thick black lines that recur in his work that are in part informed by American street art and graffiti. Sachs leaves visible traces of the work’s facture, erasing and subsequently repainting measurement lines and dimensions. He credits the work to Picasso with its original date, location and title, while also adding a new painted frame and his own, cursive signature. ‘What Sachs is trying to do is gain insight into the transition from art to iconic commodity’, writes curator Dakin Hart. ‘To understand how/whether Picasso’s art transcends the contextual noise that comes with being promoted/demoted from painting to mousepad.’
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Lee Kang So is one of Korea’s foremost contemporary artists. Since the 1970s he has worked across photography, painting, printmaking, sculpture, installation and performance to develop a highly experimental practice that has profoundly shaped the evolution of Korean art. The Wind Blows – [电话已省略]) embodies the expressive compositions at the heart of this practice. The spare, yet intentional positioning of blue, green, yellow and red brushstrokes evoke calligraphy and East Asian literati landscape traditions, while simultaneously gesturing to the aesthetics of Western Minimalism. Favouring a long-handled East Asian ink brush for its ability to react more closely to the subtleties of his bodily movements, Lee works fast on wet ground to achieve a state of union between brush and hand, body and emotion. The artist was recently the subject of a major solo exhibition at the National Museum of Modern and Contemporary Art, Seoul (2024), which is now on view at the Daegu Art Museum (until 22 February 2026). His first exhibition with the gallery took place in Seoul in June 2025. Lee Kang So The Wind Blows – 240924, 2024 (detail) Acrylic on canvas 91 x 73 cm (35.83 x 28.74 in) (LKS 1053)
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Raqib Shaw Fall of the Jade Kingdom I - Paradise Lost Chapter II , 2014–23 (detail) Acrylic liner, enamel, glitter and rhinestones on birch wood 91.44 x 152.4 cm (36 x 60 in) (RSH 2080)
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Current & upcoming exhibitions Seoul Fort Hill Joan Miró Sculptures Until 7 February 2026 Heemin Chung Garden of Turmoil Until 7 February 2026 Markus Schinwald Interiors Inc. Until 17 January 2026 Salzburg Villa Kast Alvaro Barrington On the Road (TMS) 24 January—21 March 2026 Milan VALIE EXPORT & KETTY LA ROCCA BODY SIGN Until 28 February 2026 Salzburg Villa Kast Erwin Wurm Tomorrow: Yes 17 January—11 April 2026 Paris Pantin