ART BASEL
MIAMI BEACH
December 5 – 7, 2025
Booth J11
Represented Artists by
Esther Schipper
| Rafa Silvares Jac Leirner Ugo Rondinone Rosa Barba Lotus L. Kang Sojourner Truth Parsons Simon Fujiwara | Tauba Auerbach Lee Bae Ann Veronica Janssens Norbert Bisky Ryan Gander Cemile Sahin Julia Scher |
RAFA SILVARES
Rafa Silvares was born in 1984 in Santos, Brazil. He studied fine arts at FAAP (Fundação Armando Alvares Penteado), São Paulo and received a BA in Language and Literature from the Faculty of Philosophy, Languages, and Human Sciences (FFLCH) at the University of São Paulo. The artist lives and works in Berlin.
Time appears arrested, space collapsed onto itself in Rafa Silvares work. Amidst the seductiveness of its smooth surface and the visual pleasure of expanses of brilliant color, we have an intuitive understanding of the allegorical nature of these works. Their frozen movements evoke the end of a belief in the inherent benefit of progress: the static fluidity of its masses, be they natural-looking formations (water, mud, lava), expelled from human-made machinery (pipes, pistons, washers), or waves of sound are in a kind of limbo. Caught in the paradox of agitated stillness, liquids overflow, bursting bright from pistons or pipes, from the ground or the sky. The absence of depictions of human beings in the paintings is counteracted by the feeling of looking at a human-made world.
Ace of cups, 2025
Oil on linen
180 x 140 cm (70 7/8 x 55 1/8 in)
(RAS 013)
Ace of cups, 2025
Oil on linen
180 x 140 cm (70 7/8 x 55 1/8 in)
(RAS 013)
RECENT EXHIBITION
Jac Leirner and Rafa Silvares
Ensemble, Esther Schipper, Berlin (2025)
Jac Leirner was born in 1961 in Sao Paulo, where she lives and works. In 1984, she received her BFA in Fine Arts from the Fundação Armando Álvares Penteado, in São Paulo.
For Corpus Delicti Leirner collected the luggage tags from her many airplane trips, she then ordered the strips and attached them to a brass structure. The work is suspended from the ceiling, and reads as a nod to Alexander Calder who, in the early 1930s, created the mobile, a type of sculpture that is formed of delicate components which are suspended in the air and move in response to air currents or motor power.
Leirner’s works often reference canonical art works of–Braszilian and other–moderisms. The work belongs to a series of works by Leirner called Corpus Delicti, a legal term in Latin meaning the concrete evidence of a crime. These “bodies of evidence” are objects or, more correctly, categories of objects literally smuggled off airplanes by the artist over the years: metal objects such as knives, forks and spoons, or colorful fabrics such as blankets, eye masks, socks, bags, plastic trays and ashtrays, drinking glasses, and paper labels for luggage. This string of connected objects functions as a travelogue of Leirner’s journeys. It also documents her struggle to quit smoking and her punk (sometimes illegal) acquisition of materials, as in the case of the ashtrays and cutlery. For Leirner, the works “convey a history, with the idea of transgression imprinted on them.” They are removed from one circuit and are consecrated by another, changing from airplane accou- trements to works of art.
Corpus Delicti (Cloud), 1985–2018
Luggage tags and brass
87 x ø 136 cm approx. (34 1/4 x ø 53 1/2 in)
(JL 113)
Corpus Delicti (Cloud), 1985–2018
Luggage tags and brass
87 x ø 136 cm approx. (34 1/4 x ø 53 1/2 in)
(JL 113)
RECENT EXHIBITION
Jac Leirner and Rafa Silvares
Ensemble, Esther Schipper, Berlin (2025)
UGO RONDINONE
Ugo Rondinone was born in 1964 in Brunnen, Swit- zerland. He studied at the Hochschule für Angewandte Kunst, Vienna. The artist currently lives and works in New York.
Ugo Rondinone’s large-scale lake landscape paintings are executed in watercolor on canvas and depict an abstracted mountain panorama defined by a contin- uous horizon line. The imagery draws on the peaks of the Swiss Alps as seen from the shores of Lake Lucerne. A native of the canton of Schwyz, Rondinone chose this alpine motif for his homecoming exhibition cry me a river at the Kunstmuseum Lucerne in 2024.
The work we are presenting at Art Basel Miami Beach marks a departure from the earlier monumental blue-tonal watercolor lake landscapes first shown in Lucerne. A new, vibrant color palette has been intro- duced, expanding the emotional and atmospheric range of the series. The luminosity of these “reduc- tivist watercolors,” described by Marc Mayer in the catalogue which accompanies Rondinone’s Kunstmu-seum Lucerne 2024 solo exhibition, emerges from the artist’s methodical application of many thin washes of water-diluted pigment. This layering creates an illusion of depth, evoking the stratified mountain peaks and the shimmering reflections on the lake’s surface. As in many of Rondinone’s works, the distilled stillness of the landscape carries a meditative, almost spiritual charge.
Each painting is titled with the date on which it was completed, written as a single word in German and accompanied by a Plexiglas plaque.
achtzehnternovemberzweitausendfünfundzwanzig, 2025
Watercolor on canvas, artist’s frame
200 x 300 cm (78 x 118 in)
(UR 760)
achtzehnternovemberzweitausendfünfundzwanzig, 2025
Watercolor on canvas, artist’s frame
200 x 300 cm (78 x 118 in)
(UR 760)
RECENT EXHIBITION
Ugo Rondinone
Cry Me a River, Kunstmuseum Luzern (2024)
ROSA BARBA
Rosa Barba was born in 1972 in Agrigento, Italy. She currently lives and works in Berlin.
Film’s materiality has been an integral part of Rosa Barba’s long engagement with the medium and its time-based experience. This presentation showcases three kinetic sculptures that intertwine her continued study of color, poetry, and movement, utilizing analog film, exposed to produce color fields, with typed or handwritten text. As Fixed in Flux, which premiered at Barba’s 2025 solo show at The Museum of Modern Art, New York, consists of an intricate play of moving metal spools and arms hung with printed film strips. Its machine aesthetic and material novelty attest to the artist’s interest in glass filters, time-keeping devices, and astronomy. The newest work, Colors with Phonetic Similarities, is a mesmerizing grid of colored film ranging from bright Vermilion to wine red. On a low shelf, Footnote punctuates the presentation with a handwritten text fragment looping like a recurring thought. Seen together, the works create rhythms of light, sound, and text with ever-changing connections between them.
As Fixed in Flux, 2025
Steel, aluminum, glass, motors, 35mm film
114,5 x 107,5 x 39 cm (45 1/8 x 42 3/8 x 15 3/8 in)
Edition of 5
(RBA 139)
Colors with Phonetic Similarities, 2025
35 mm film, aluminum frame, motors, Plexiglas, LED lights
94 x 124,5 x 9 cm (37 x 49 x 3 1/2 in)
Unique in a series of 5
(RBA 141)
Off my Mind, 2025
Steel, glass, motors, 35 mm film, aluminum
90 x 120 x 12 cm (35 3/8 x 47 1/4 x 4 3/4 in)
Unique in a series of 7
(RBA 142)
Footnote (...my distance from the object...), 2021
Stainless steel, 70 mm film, LED, motor
80 x 10 x 8,5 cm (31 1/2 x 4 x 3 3/8 in)
(RBA 145)
RECENT EXHIBITION
Rosa Barba
The Ocean of One’s Pause, The Museum of Modern Art, New York (2025)
LOTUS L. KANG
Rafa Silvares was born in 1984 in Santos, Brazil. He studied fine arts at FAAP (Fundação Armando Alvares Penteado), São Paulo and received a BA in Language and Literature from the Faculty of Philosophy, Languages, and Human Sciences (FFLCH) at the University of São Paulo. The artist lives and works in Berlin.
Time appears arrested, space collapsed onto itself in Rafa Silvares work. Amidst the seductiveness of its smooth surface and the visual pleasure of expanses of brilliant color, we have an intuitive understanding of the allegorical nature of these works. Their frozen movements evoke the end of a belief in the inherent benefit of progress: the static fluidity of its masses, be they natural-looking formations (water, mud, lava), expelled from human-made machinery (pipes, pistons, washers), or waves of sound are in a kind of limbo. Caught in the paradox of agitated stillness, liquids overflow, bursting bright from pistons or pipes, from the ground or the sky. The absence of depictions of human beings in the paintings is counteracted by the feeling of looking at a human-made world.
As Fixed in Flux, 2025
Steel, aluminum, glass, motors, 35mm film
114,5 x 107,5 x 39 cm (45 1/8 x 42 3/8 x 15 3/8 in)
Edition of 5
(RBA 139)
RECENT EXHIBITION
Collection 1980s–Present
The Museum of Modern Art, New York (2025)
RECENT EXHIBITION
Lotus L. Kang
Borne, Esther Schipper, Berlin (2025)
SOJOURNER TRUTH PARSONS
Rafa Silvares was born in 1984 in Santos, Brazil. He studied fine arts at FAAP (Fundação Armando Alvares Penteado), São Paulo and received a BA in Language and Literature from the Faculty of Philosophy, Languages, and Human Sciences (FFLCH) at the University of São Paulo. The artist lives and works in Berlin.
Time appears arrested, space collapsed onto itself in Rafa Silvares work. Amidst the seductiveness of its smooth surface and the visual pleasure of expanses of brilliant color, we have an intuitive understanding of the allegorical nature of these works. Their frozen movements evoke the end of a belief in the inherent benefit of progress: the static fluidity of its masses, be they natural-looking formations (water, mud, lava), expelled from human-made machinery (pipes, pistons, washers), or waves of sound are in a kind of limbo. Caught in the paradox of agitated stillness, liquids overflow, bursting bright from pistons or pipes, from the ground or the sky. The absence of depictions of human beings in the paintings is counteracted by the feeling of looking at a human-made world.
As Fixed in Flux, 2025
Steel, aluminum, glass, motors, 35mm film
114,5 x 107,5 x 39 cm (45 1/8 x 42 3/8 x 15 3/8 in)
Edition of 5
(RBA 139)
RECENT EXHIBITION
Sojourner Truth Parsons
Louise
Contemporary Art Gallery, Vancouver, 2025
SIMON FUJIWARA
Rafa Silvares was born in 1984 in Santos, Brazil. He studied fine arts at FAAP (Fundação Armando Alvares Penteado), São Paulo and received a BA in Language and Literature from the Faculty of Philosophy, Languages, and Human Sciences (FFLCH) at the University of São Paulo. The artist lives and works in Berlin.
Time appears arrested, space collapsed onto itself in Rafa Silvares work. Amidst the seductiveness of its smooth surface and the visual pleasure of expanses of brilliant color, we have an intuitive understanding of the allegorical nature of these works. Their frozen movements evoke the end of a belief in the inherent benefit of progress: the static fluidity of its masses, be they natural-looking formations (water, mud, lava), expelled from human-made machinery (pipes, pistons, washers), or waves of sound are in a kind of limbo. Caught in the paradox of agitated stillness, liquids overflow, bursting bright from pistons or pipes, from the ground or the sky. The absence of depictions of human beings in the paintings is counteracted by the feeling of looking at a human-made world.
As Fixed in Flux, 2025
Steel, aluminum, glass, motors, 35mm film
114,5 x 107,5 x 39 cm (45 1/8 x 42 3/8 x 15 3/8 in)
Edition of 5
(RBA 139)
RECENT EXHIBITION
Simon Fujiwara
Picasso for Asia − A Conversation, M+, Hong Kong (2025)
ESTHER SCHIPPER GMBH
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2025 © ESTHER SCHIPPER
ART BASEL
MIAMI BEACH
December 5 – 7, 2025
Booth J11
RAFA SILVARES
Rafa Silvares was born in 1984 in Santos, Brazil. He studied fine arts at FAAP (Fundação Armando Alvares Penteado), São Paulo and received a BA in Language and Literature from the Faculty of Philosophy, Languages, and Human Sciences (FFLCH) at the University of São Paulo. The artist lives and works in Berlin.
Time appears arrested, space collapsed onto itself in Rafa Silvares work. Amidst the seductiveness of its smooth surface and the visual pleasure of expanses of brilliant color, we have an intuitive understanding of the allegorical nature of these works. Their frozen movements evoke the end of a belief in the inherent benefit of progress: the static fluidity of its masses, be they natural-looking formations (water, mud, lava), expelled from human-made machinery (pipes, pistons, washers), or waves of sound are in a kind of limbo. Caught in the paradox of agitated stillness, liquids overflow, bursting bright from pistons or pipes, from the ground or the sky. The absence of depictions of human beings in the paintings is counteracted by the feeling of looking at a human-made world.
RECENT EXHIBITION
Jac Leirner and Rafa Silvares
Ensemble
Esther Schipper, Berlin (2025)
JAC LEIRNER
Jac Leirner was born in 1961 in Sao Paulo, where she lives and works. In 1984, she received her BFA in Fine Arts from the Fundação Armando Álvares Penteado, in São Paulo.
For Corpus Delicti Leirner collected the luggage tags from her many airplane trips, she then ordered the strips and attached them to a brass structure. The work is suspended from the ceiling, and reads as a nod to Alexander Calder who, in the early 1930s, created the mobile, a type of sculpture that is formed of delicate components which are suspended in the air and move in response to air currents or motor power.
Leirner’s works often reference canonical art works of–Braszilian and other–moderisms. The work belongs to a series of works by Leirner called Corpus Delicti, a legal term in Latin meaning the concrete evidence of a crime. These “bodies of evidence” are objects or, more correctly, categories of objects literally smuggled off airplanes by the artist over the years: metal objects such as knives, forks and spoons, or colorful fabrics such as blankets, eye masks, socks, bags, plastic trays and ashtrays, drinking glasses, and paper labels for luggage. This string of connected objects functions as a travelogue of Leirner’s journeys. It also documents her struggle to quit smoking and her punk (sometimes illegal) acquisition of materials, as in the case of the ashtrays and cutlery. For Leirner, the works “convey a history, with the idea of transgression imprinted on them.” They are removed from one circuit and are consecrated by another, changing from airplane accou- trements to works of art.
RECENT EXHIBITION
Jac Leirner and Rafa Silvares
Ensemble
Esther Schipper, Berlin (2025)
UGO RONDINONE
Ugo Rondinone was born in 1964 in Brunnen, Swit- zerland. He studied at the Hochschule für Angewandte Kunst, Vienna. The artist currently lives and works in New York.
Ugo Rondinone’s large-scale lake landscape paintings are executed in watercolor on canvas and depict an abstracted mountain panorama defined by a contin- uous horizon line. The imagery draws on the peaks of the Swiss Alps as seen from the shores of Lake Lucerne. A native of the canton of Schwyz, Rondinone chose this alpine motif for his homecoming exhibition cry me a river at the Kunstmuseum Lucerne in 2024.
The work we are presenting at Art Basel Miami Beach marks a departure from the earlier monumental blue-tonal watercolor lake landscapes first shown in Lucerne. A new, vibrant color palette has been intro- duced, expanding the emotional and atmospheric range of the series. The luminosity of these “reduc- tivist watercolors,” described by Marc Mayer in the catalogue which accompanies Rondinone’s Kunstmu-seum Lucerne 2024 solo exhibition, emerges from the artist’s methodical application of many thin washes of water-diluted pigment. This layering creates an illusion of depth, evoking the stratified mountain peaks and the shimmering reflections on the lake’s surface. As in many of Rondinone’s works, the distilled stillness of the landscape carries a meditative, almost spiritual charge.
Each painting is titled with the date on which it was completed, written as a single word in German and accompanied by a Plexiglas plaque.
Artist Website Related Dossier
RECENT EXHIBITION
Ugo Rondinone
Cry Me a River
Kunstmuseum Luzern (2024)
ROSA BARBA
RECENT EXHIBITION
Rosa Barba
The Ocean of One’s Pause
The Museum of Modern Art, New York (2025)
