Art Basel, Basel
Booth N7, Hall 2.1
16 – 21 June 2026 

We are delighted to return to Art Basel in 2026 with a presentation of works by Petrit Halilaj, Sofía Salazar Rosales, Selma Selman, Clemen Parrocchetti, Monia Ben Hamouda, Álvaro Urbano, Sol Calero, Patrizio di Massimo, Heike Kabisch, Stephanie Comilang, Rodrigo Hernández and Ruth Wolf-Rehfeldt. Reflecting the artists’ recent international exhibitions, the works span from the 1960s to the present day.

Following his recent presentations at the Whitney Biennale in New York, Hammer Museum in Los Angeles and the Istanbul Biennale, Ali Eyal also presents a special Kabinett project at the booth. In this new installation, disjointed stories become the basis for viewers to (re)construct fiction and fantasy from the artist’s a series of small paintings and a sculptural assemblage.

Elsewhere in Basel, Ruth Wolf-Rehfeldt’s iconic “typewritings” and concrete poems produced in the GDR will be on view at Museum Tinguely and Kunstmuseum Basel, while Sofía Salazar Rosales presents a large sculptural installation at Kunsthaus Baselland navigating the architectural and agricultural frameworks embedded within life in Cuba and Ecuador.

Ali Eyal: Kabinett
N7, Hall 2.1
Art Basel, Basel
16 – 21 June 2026 

Born in Iraq in 1994, Ali Eyal examines the psychic and environmental toll of displacement, war, and life within a failed state, often weaving narratives shaped by the fragmented and uncertain nature of his own childhood. Within these disjointed stories, intimate and sometimes absurd details become essential elements in the (re)construction of familial fictions.

A child during the American invasion of Iraq and the turbulent years that followed, Eyal repeatedly returns to memories of his family’s farm. In his Kabinett presentation, these recollections reverberate into the present through a wardrobe containing fragments of a portrait and a new series of paintings.

The wardrobe, its doors engraved with motifs from the family farm, stands open for viewers to peer inside. There, they encounter fragmented body parts and facial features dispersed across multiple canvases, like garments strewn inside the wardrobe. Since 2022, these works have circulated across international exhibitions as stand-ins for the artist, traveling to places he may never visit. Though viewers may attempt to mentally reassemble these pieces, the paintings ultimately resist resolution.

The scene is further disrupted by twelve small paintings depicting scenes from the command centers of the Los Angeles Traffic Police, the city where the artist now lives. These images of speeding, out-of-control drivers recall a story the artist tells about fleeing with his uncle during an unexpected attack just outside the farm, when American soldiers targeted civilian vehicles. At the same time, they gesture toward broader systems of policing and surveillance, prompting viewers to consider how truth is often difficult to discern, and how acts of looking and remembering are shaped by subjective and unstable forms of perception.

By assembling these small, fragmented works like pieces of a puzzle, Eyal invites viewers to construct their own narrative from his memories and surroundings while withholding any definitive conclusion. This deliberate disorientation blurs the boundaries between fiction and nonfiction, prompting viewers to question the reliability of news, history, and mediated realities. In this context, painting emerges as a “tool of witness,” capable of preserving stories, memories, and experiences that might otherwise be erased, fragmented, or overlooked.

Eyal was recently announced as the recipient of the 2025 Mohn Award at the Hammer Museum, Los Angeles, and the 2025 CULTURED x MZ Wallace Young Artist Prize. His work is also currently on view at the 82nd Whitney Biennial in New York.