 Art Basel Qatar
February 3 — 7, 2026 Booth M309 Galerie Chantal Crousel Mona Hatoum, Divide, 2025; Inside Out (concrete), 2019; Mirror, 2025; Cage for One, 2022. Photos: Jiayun Deng; Florian Kleinefenn; Theo Christellis. Solo presentation of Mona Hatoum. The body of work challenges perceptions of displacement and confinement, exemplifying Hatoum’s ability to merge personal experience with global narratives through minimal yet powerful forms. Preview now Hauser & Wirth reside over the iconic Palazzo Forcella De Seta in Palermo, Sicily  Palazzo Forcella De Seta in Palermo, Sicily. Photos: Giovanni Costagliola / Archifotografia. See more here.
For centuries, Palazzo Forcella De Seta in Palermo has borne witness to the rich pageant of Sicilian history, embodying the interplay of cultures that have shaped the Mediterranean island. Acquired by Hauser & Wirth in early 2026, this extraordinary site will undergo thoughtful conservation aimed at restoring its architectural integrity to create a new cultural destination that is open to all and honors its legacy. A landmark of the Kalsa quarter of Palermo, overlooking the Tyrrhenian Sea, the Palazzo is an architectural synthesis of Arab-Norman and Gothic influences. It was originally erected in the 18th century, with integral 16th century elements that include the Porta dei Greci. The site has evolved through the ages, with each iteration reflecting the diverse cultural dialogues that permeate Sicily. ‘It is an honor and a privilege to embark on the restoration of Palazzo Forcella De Seta, a site of extraordinary significance and beauty, and to be given this opportunity to create a new arts destination in a place revered worldwide for its centuries-long embrace of cultural exchange.’--Iwan Wirth Constructed atop the remnants of the ‘casina a mare’ of the Bonanno family, the Palazzo found new life in 1833 when it came under the stewardship of Enrico Forcella, Marquis of Villalonga. Under his direction, visionary architects Nicola Puglia and Emmanuele Palazzotto embarked on a neoclassical redesign, creating the central structure and features seen today. Its many distinctive attributes—intricate mosaics, vibrant stucco frescoes, neo-Gothic arched windows, and a courtyard garden—speak to the confluence of cultures and styles that defines Palermo's architecture. Throughout its storied past, the Palazzo has served as a private residence and a venue for cultural events, including the Manifesta biennale in 2018. ‘It is an honor and a privilege to embark on the restoration of Palazzo Forcella De Seta, a site of extraordinary significance and beauty, and to be given this opportunity to create a new arts destination in a place revered worldwide for its centuries-long embrace of cultural exchange,’ said Iwan Wirth, President of Hauser & Wirth. ‘We are grateful to the Palazzo’s previous owners, ANCE, for their stewardship of this remarkable site and look forward to taking it into its next chapter, developing a platform for artists’ voices and nurturing conversations with the community that resonate within this historic context.’ SUEÑO PERRO. INSTALACIÓN CELULOIDE DE ALEJANDRO G. IÑÁRRITU From 18/09/2025 to 26/02/2026 - Fondazione Prada - Largo Isarco, 2 - www.fondazioneprada.org  “Sueño Perro: Instalación Celuloide de Alejandro G. Iñárritu” is a global multisensory exhibition rooted in the intersection of cinema and visual art, created by Academy Award-winning Mexican filmmaker Alejandro G. Iñárritu. In celebration of the 25th anniversary of Amores Perros (2000), Inarritu’s legendary debut feature, “Sueño Perro” brings to light never-before-seen footage which speaks to Amores Perros’ enduring themes of love, betrayal, and violence. These gritty vignettes, once abandoned on the cutting room floor and conserved for a quarter of a century in the film archives at the National Autonomous University of Mexico, capture the charged and interconnected sociopolitical realities of Mexico City, still relevant decades later. Drawing on the raw power and visual poetry of these forgotten images, Iñárritu reimagines their impact through a mosaic of celluloid and sound. At the heart of the installation is a deep reverence for the materiality of 35mm film, whose physical grain, flicker, and warmth evoke a deep sense of nostalgia. “Sueño Perro” marks Fondazione Prada’s third collaboration with Iñárritu, who conceived the film program “Flesh, Mind and Spirit” in Seoul (2009) and Milan (2016), and the experimental VR installation “CARNE y ARENA” in Milan (2017), which was part of the official selection of the 2017 Cannes Film Festival and awarded a special Oscar by the Board of Governors of the Academy of Motion Picture Arts and Sciences. As stated by Miuccia Prada, President and Director of Fondazione Prada, “With this project, we aim to open new perspectives on Iñárritu’s work and on a film that, from its very start, combined the force of realism with the density of symbolism. Twenty-five years after it was released, Amores Perros continues to speak to the present and to capture, with visual and emotional power, the full complexity of the world we live in.” As explained by Iñárritu, “Over a million feet of film were left on the cutting room floor during the editing of Amores Perros. These intensely charged images, sixteen million still frames, were buried in the UNAM film archives for 25 years. On the occasion of the film’s anniversary, I felt compelled to revisit and re-explore these abandoned fragments, with the grain and the ghosts of celluloid which they hold. Stripped of all narrative, this installation is not a tribute, but a resurrection —an invitation to feel what never was. Like meeting an old friend we have never seen before.” Iñárritu’s installation will be on view on the ground floor of the Podium, the main exhibition space of the Milan venue of Fondazione Prada. As part of “Sueño Perro”, a visual and sound display will be conceived by the Mexican writer and journalist Juan Villoro for the first floor of the building. Titled “Mexico 2000: The Moment that Exploded”, it will offer a second layer of narrative from a different perspective. As explained by Juan Villoro, “Amores Perros can be located at a precise historical juncture. In the canonical year of 2000, Mexico was experiencing a rare moment of long-awaited hope: after 71 years in power, the Institutional Revolutionary Party had finally lost a presidential election, and the country was preparing to discover genuine democracy. At the same time, reality presented a panorama of inequality, corruption, and violence.” With his display, Villoro will map the political, familial, societal, religious and economic conditions that gave birth to the three intertwined stories narrated in this film. As he outlined, “Filmed at a ‘moment of change’, Amores Perros did not reflect the end of an era but rather the beginning of a downfall. Twenty-five years later, its social relevance is alarming: what was happening then is still happening now. Its explosion is still ongoing.”  Courtesy information: KOO JEONG A, KANGSE Y, 2024 © KOO JEONG A. Portrait of KOO JEONG A © KOO JEONG A.
KOO JEONG A. KANGSE X Hauser & Wirth Limmatstrasse 22 January – 16 May 2026 Opening this January at Hauser & Wirth’s Limmatstrasse gallery in Zurich is an exhibition of new sculptures, phosphorescent paintings and recent drawings by KOO JEONG A. The exhibition, titled KANGSE X, is derived from the Korean term KANGSE (meaning spatial strength) and is an extension of KOO JEONG A’s previous exhibition ‘ODORAMA CITIES’, presented at the Korean Pavilion for the 60th Venice Biennale, which originated from the artitst’s animation MYSTERIOUSSS (2017). KOO’s multifaceted practice encompasses drawing, painting, sculpture, installation, film, animation, augmented reality and architecture, combined with natural phenomena such as gravity, electromagnetic fields and phosphorescence to open up alternative realities in both a geographic and an astral sense. Coinciding with the artist’s solo exhibition ‘LAND OF OUSSS [GRAVITTA]’ at Kunsthaus Bregenz, the exhibition in Zurich develops KOO’s longstanding exploration of the perception of space and traces the poetry that permeates the artist’s unique universe. The exhibition showcases a series of new bronze sculptures depicting the embryonic figure of Kangse, balancing on a single toe. A recurring character in KOO’s sculptures, animations and drawings and a prominent feature of their presentation at the Korean Pavilion at the 2024 Venice Biennale and the recent exhibition at Luma Arles. Kangse is often found floating through an infinite cosmic void, at once mysterious and mischievous. Set within an interstellar vacuum, the work unfolds through a speculative hand-language referencing the abstract structure of a Diophantine equation and Fermat’s Last Theorem. Ideas of weightlessness are central to KOO’s practice, intimately connected to their explorations of immateriality and multidimensionality. Another sculpture, ‘DENSITY X’ (2025), is suspended in a magnetic field. It represents the latest installment in a long-running series that works to disrupt conventional notions of space and materiality using a levitating ice cube that KOO has materialized variously through drawing, sculpture and augmented reality. ‘LAVA X’ (2025), meanwhile, emits scent to immerse the viewer in a multisensory experience. Fragrance has been central to KOO’s practice since 1996, used by the artist to explore the ways in which spatial perception is influenced by olfactory experiences. Alongside scent, KOO JEONG A’s work frequently incorporates other intangible elements such as light, temperature and sound. At the heart of KOO’s work is an interest in the invisible forces that shape reality, often bridging the terrestrial and the cosmic worlds. Light waves are bent by gravity, while plants bloom in response to light. Named after the classical planets—the Sun and Moon, Mercury, Venus, Mars, Jupiter and Saturn— the Seven Stars series embodies this entanglement. During daylight hours, these paintings appear quiet, minimalistic compositions. Darkness transforms them, revealing them to be painted using phosphorescent pigment that absorbs light over the course of the day. Glowing green stars appear across the canvases, opening a portal into a parallel dimension and forming what the artist coins as the LAND OF OUSSS, a cosmology in which animation, mathematics, and spatial imagination converge into a living monument. Hauser & Wirth Zurich, Limmatstrasse Limmatstrasse 270 8005 Zürich Opening hours: Tue – Fri, 11 am – 6pm Sat, 11 am – 5 pm www.hauserwirth.com  Mona Hatoum | Fondazione Prada, Milan, Italy
Over, under and in between Fondazione Prada, Milan, Italy January 29 — November 9, 2026 Over, under and in between is a site-specific project conceived by Mona Hatoum for Fondazione Prada in Milan that reflects on the turmoil of our times and the precariousness of our existence. Three installations explore archetypal elements of Mona Hatoum’s artistic vocabulary: the web, the map, and the grid. These embody ideas of instability, danger, and fragility to varying degrees of intensity and sensibility, creating a dialogue with the space and, in particular, the viewer’s physical experience. Mona Hatoum, all of a quiver, 2022, installation view, Kesselhaus, KINDL – Centre for Contemporary Art, Berlin, Germany (2022-23). Photo: Jens Ziehe. © Mona Hatoum.  Sheesh Mahal (Triptych), 2024 acrylic, oil, hand-cut canvas collage on canvas, 72 × 96 in overall; 32 × 72 in each panel. Decoding Digital DNA, the recently concluded solo exhibition by New Delhi - based artist Mukesh Sharma, opened on 18 December 2025 at the Main Art Gallery, Bikaner House, New Delhi, India and remained on view for the public until 25 December 2025. The exhibition marked a significant moment in Sharma’s long-standing engagement with technology, materiality, and the ecological afterlife of digital consumption. The exhibition witnessed a strong opening and an encouraging response from collectors, curators, critics, and prominent members of the art and cultural community. The opening preview itself, which saw nearly 50 percent of the works find new homes, is a testament to the collectors’ intuition and the viewers’ willingness to engage with the unfamiliar. Mukesh Sharma expresses humility at this response. For him, it was never about expectations, but about sparking a conversation. The exhibition was not only about the artworks themselves, but also about the spaces created and the dialogues they inspired. Sharma remains deeply grateful to have shared this journey with both collectors and audiences, who not only appreciated the work but also saw a reflection of our times within it. At the heart of Decoding Digital DNA was an immersive environment constructed from technological detritus - keyboards, circuits, wires, chips, and other discarded digital components. Rather than treating these materials as waste, Sharma reimagined them as organic matter with renewed agency. The exhibition sparked engaged conversations around technology as a living presence - embedded in memory, behaviour, and identity and positioned digital materiality as an evolving layer of human existence. In doing so, the exhibition bridged concerns of ecology, sustainability, and post-human futures. Decoding Digital DNA examined technology not as a tool, but as a living archive—one that absorbs human memory, behaviour, and identity over time. By transforming discarded digital components into immersive installations and mixed-media works, Sharma challenged conventional definitions of waste in a technology-driven world. Circuitry and data were presented as organic systems, blurring the boundaries between the mechanical and the living, and raising urgent questions around the environmental afterlife of gadgets and digital consumption. As a conceptual framework, the exhibition also functioned as a subtle yet incisive commentary on contemporary life—entwined with smartphones, laptops, smartwatches, cables, keyboards, and other digital paraphernalia that no longer merely assist human activity but actively shape it. From tracking time to monitoring breath and heartbeat, digital devices increasingly mediate the most intimate aspects of existence. Though Sharma is not a digital native—having been born and formally trained before the digital revolution reshaped everyday life—his practice does not romanticise technology. Instead, it critically examines how human beings are adapting to what he describes as a new addition to our DNA: the digital component. Almost like a fifth base in the building blocks of human DNA, this digital layer has become inseparable from cognition, memory, labour, and identity. Through multi-layered installations using digital detritus, along with recently completed mixed-media paintings, Sharma reflects on the ecological and philosophical consequences of the age of technology and artificial intelligence. His work situates itself at a vital intersection between materiality, digital identity, and sustainability. It speaks to a generation whose memories, emotions, and neural networks are mediated through devices, and whose discarded components silently record histories of use, abuse, and evolution. With a distinctive material intelligence, Sharma assembles and reassembles obsolete technological objects, transforming what is discarded into forms that feel tactile, pulsating, and alive. His works offer a visceral commentary on how deeply technology has merged with human biology—ultimately giving shape to what he terms “digital DNA.” Added by Archana Khare-Ghose, curator In the post-exhibition phase, the discourse generated by Decoding Digital DNA continues through editorial interest, proposed interviews, and critical reflections. These conversations aim to further unpack the ideas that emerged from the exhibition, Sharma’s sustained engagement with technological detritus, and the role contemporary art can play in decoding the afterlife of gadgets in an increasingly data-driven world. LTR: Alison Barrett MBE, Country Director, British Council in India, with artist Mukesh Sharma; Installation view of the exhibition; Raaga, 2025 polyester resin, fibreglass, repurposed laptop keys and paint, 66 × 19 × 48 in. Dhara, 2025 polyester resin, fibreglass, repurposed laptop keys and paint, 44 × 23 × 48 in.  Mukesh Sharma (above) is a prominent New Delhi - based contemporary visual artist with nearly three decades of practice. Born in Doroli, a village nestled in the lap of the Aravallis in the Alwar district of northwestern Rajasthan, India. He holds a BFA from the Rajasthan School of Art, Jaipur, and an MFA from the Faculty of Fine Arts, MS University, Baroda. His work has been presented across several solo exhibitions and prestigious group showcases, both in India and internationally. Sharma’s practice reflects deeply on urban transformation, digital influence, and the tension between small-town rootedness and metropolitan realities. His multidisciplinary body of work spans large-scale site-responsive installations, mixed-media paintings, hybrid prints and immersive spatial constructions. Well-known works include Nagraj (Venice Architecture Biennale, 2014) and PK - Man and Superman (India Art Fair, 2015), both of which stand as markers of his evolving engagement with technology, identity and the future of human - machine interaction. His works are held in public and private collections worldwide, including the Museum of Art & Photography (MAP), The National Gallery of Australia, RMIT University, Swiss Re, and Qualcomm. Mukesh has been featured in leading international and national publications such as The Wall Street Journal, The Economic Times, India Today, The Times of India, Hindustan Times, The Hindu, Art India Magazine, and Visionnaire Moralmoda Magazine, among others. --  |
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