Art Basel Paris 2026

Marcello Maloberti connects the booth to the public space of the city. Within Art Basel Paris Public Program, CIEL (2026) appears as a handwritten neon sign suspended along Avenue Winston-Churchill, transforming language into apparition and urban gesture. In the booth, a neon work developed from CIEL acts as a more concentrated trace of this public intervention.

Maloberti has worked with Raffaella Cortese since 1999. Institutions that have devoted solo exhibitions to the artist include PAC – Padiglione d’Arte Contemporanea Milano, MAXXI Rome, Triennale Milano, Kestner Gesellschaft Hannover, MACRO Rome, Generali Foundation Vienna, and GAMeC Bergamo.

Silvia Bächli’s drawings bring the progression back to the measure of gesture. Open, irregular lines hold movement on the surface of the paper, creating a visual rhythm in which emptiness becomes an active part of the image.

Bächli represented Switzerland at the 53rd Venice Biennale in 2009. Her work has been presented in solo exhibitions at institutions including Museo Morandi Bologna, Centro Botín Santander, Kunstmuseum Winterthur, Museum Langmatt, Weserburg Museum für moderne Kunst Bremen, Fidelidade Arte Lisbon, Culturgest Porto, Kunsthalle Karlsruhe, Musée Barbier-Müller Geneva, Centre culturel suisse Paris, Frac Franche-Comté Besançon, and Pinakothek der Moderne Munich.

Zoe Leonard’s diptych introduces a quieter reflection on boundary, distance, and observation. Through the dry precision of black-and-white photography, Leonard's images hold suspended landscapes and visual tensions.

Leonard has had solo exhibitions at institutions including Chinati Foundation, Contemporary Art Gallery Vancouver, Museum of Contemporary Art Australia, Mudam Luxembourg, Musée d’Art Moderne de Paris, Whitney Museum of American Art, MOCA Los Angeles, MoMA New York, Museum Moderner Kunst Stiftung Ludwig Vienna, Dia:Beacon, Museo Reina Sofía Madrid, Fotomuseum Winterthur, Vienna Secession, and Kunsthalle Basel. She has worked with Galleria Raffaella Cortese since 2001.

Alejandro Cesarco’s The Long Term (A Measure of Intimacy II) translates relation into terms of measure. The work questions the endurance of desire over time, giving form to a proximity that is both affective and separate.

Cesarco has had solo exhibitions at institutions including Lumiar Cité Lisbon, ARTIUM Vitoria, Witte de With Center for Contemporary Art Rotterdam, Museo Amparo Puebla, Jeu de Paume Paris, CAPC Bordeaux, The Renaissance Society Chicago, Frac Île-de-France / Le Plateau Paris, Kunsthalle Zürich, mumok Vienna, Museo Rufino Tamayo Mexico City, and Tate Modern London. He represented Uruguay at the 54th Venice Biennale in 2011.

Francesco Arena’s practice often begins from a measure: a bodily distance, a proportion, a weight, or a physical limit. In My Two Looks (October), this logic becomes an encounter between materials, where impact and transformation turn the body into a sculptural unit.

Francesco Arena has presented works in institutional contexts including Fondazione Nicola Del Roscio, Rome; Palazzo Borromeo, Milan; BASE / Progetti per l’arte, Florence; Frac Champagne-Ardenne, Reims; Museion, Bolzano; and Art Basel Unlimited. In 2013, he participated in the Italian Pavilion at the 55th International Art Exhibition of La Biennale di Venezia.