Lisson Gallery is delighted to announce its participation in the 2025 edition of Art Basel Hong Kong, with a presentation featuring historic and recent work by a selection of artists from its roster. Spanning painting, sculpture and photography, the booth features work by Tony Cragg, Shirazeh Houshiary, Leiko Ikemura, Oliver Lee Jackson, Anish Kapoor, Christopher Le Brun and Hiroshi Sugimoto, alongside highlights from Elaine Cameron-Weir, Ryan Gander, Julian Opie, Sean Scully, and Yu Hong.
The fair marks Lisson’s first presentation of work by Tishan Hsu, following its recent representation announcement. A pioneering artist who has explored the evolving relationship between humans and technology for nearly five decades, Hsu presents Mammal-screen-mauve (2024), a work that examines the biological and technological complexities of contemporary life by blending digital aesthetics with organic forms. His first solo exhibition with Lisson will open in New York this November.
The female form has been a central motif in Leiko Ikemura’s practice since the 1980s. Galvanised in bronze, her recumbent figure Memento Mori (2020/22) embodies themes of rebirth and natural cyclicity, reflecting the fundamental principles of our perceptible universe. In contrast, Tony Cragg’s Incident (2022) is a dynamic, upright composition pulsating with positive and negative space. Harnessing the expressive potential of materials, Cragg explores the physical strength of steel, revealing structures that seemingly defy gravity—a testament to his lifelong study of the material world.
Read moreFurther sculptural highlights on the booth include Elaine Cameron-Weir’s Snake 14 (2025), a monumental piece composed of plasma-cut copper scales coated in enamel. Drawing from systems and structures devised to navigate the unknown, Cameron-Weir repurposes industrial materials into objects that reference larger systems of power. Anish Kapoor’s mirror Dark Purple to Clear (2024) continues his investigation into the phenomenology of space, subtly shifting between shades of deep purple to create a lyrical oscillation of color that distorts both the object’s form and its reflection, challenging the viewer’s perception of self and surroundings.
Preceding his upcoming solo exhibition this April—his first in London and first with Lisson—Oliver Lee Jackson presents Untitled Painting (9.3.24) (2024), a large-scale plywood panel that dissolves the conventional boundaries between figuration and abstraction. While Shirazeh Houshiary’s Rite of Passage (2024) manipulates pigment to conjure shifting material states—color appearing alternately as vapor, earth, smoke, or matter. Yu Hong’s Island of Survival (2024) depicts a frenzy of figures atop a precarious platform amid a dark, turbulent sea inspired by Gustave Courbet’s The Sea (c.1865). This acrylic on canvas work reflects on the psychological and existential complexities of human survival.
Hiroshi Sugimoto’s photography and calligraphy works are presented in a dedicated room within the booth. Also featured are Palace (2015) by Christopher Le Brun, a poetic oil painting that encapsulates the musicality inherent in his practice; Julian Opie’s Cup and phone. (2019), coinciding with his presentation at Lisson New York; and ceramic vessels by Masaomi Yasunaga, whose latest solo exhibition is currently on view at Lisson Gallery Shanghai.
