Art Basel

Hall 2.1, Booth M11

16th - 19th June 2016

Siobhán Hapaska, Us, 2016, Concrete cloth, fibreglass, two pack acrylic paint and lacquer, stainless steel, oak 135 x110 x 100cm / 53.1 x 43.3 x 39.4 in

Siobhán Hapaska, Love, 2016, Concrete cloth, fibreglass, two pack acrylic paint and lacquer, oak, 141 x 233 x 102 cm / 55.5 x 91.7 x 40.2 in

Additional Views
Siobhán Hapaska, Touch, 2016, concrete cloth, oak, synthetic fur, aluminium, steel, two-pack acrylic paint and lacquer, 230 x 95 x 140 cm / 90.6 x 37.4 x 55.1 in 

Willie Doherty, Loose Ends I, 2016, diptych, pigment prints mounted on dibond, framed, 107.6 x 161 cm / 42.4 x 63.4 in image size, 111 x 164.5 x 5 cm / 43.7 x 64.8 x 2 in framed size

Additional Views

Willie Doherty, Loose Ends II, 2016, diptych, pigment prints mounted on dibond, framed, 107.6 x 161 cm / 42.4 x 63.4 in image size, 111 x 164.5 x 5 cm / 43.7 x 64.8 x 2 in framed size

Additional Views

Merlin James, Railway Houses,  2016, acrylic and mixed media, 66 x 110 cm / 26 x 43.3 in  

Merlin James, Ruin, 1995, acrylic and mixed media on canvas 61 x80 cm / 24 x 31.5 in

Merlin James, The leather chair, undated, acrylic and mixed media on canvas 32 x 26 cm / 12.6 x 10.2 in

Merlin James, Crossed, 2011, wood, polyester, acrylic, metal, 101 x 66 cm / 39.8 x 26 in

Jan Pleitner, Entering the morphogenetic field, 2016, oil on canvas, 253 x 497 cm / 99.6 x 195.7 in

Additional Views
Willie Doherty, Siobhán Hapaska, Merlin James and Jan Pleitner, Art Basel 2016, Hall 2.1, Booth M11, 16th - 19th June 2016

In Hall 2.1, Booth M11, the gallery will present new and important work by Willie DohertySiobhán Hapaska, Merlin James and Jan Pleitner.

A pioneering figure in contemporary art film and photography since the 1980s, Willie Doherty (b. 1959, Derry, NI) will début two new diptychs at Art Basel: Loose Ends I and Loose Ends II. The diptych format has long been a central and important part of Doherty’s practice, setting contradictory points of view against each other. His works give an unsettling, uneasy mediation on landscape, purposefully frustrating the establishment of any straightforward position, any single authoritative view.

Siobhán Hapaska (b. 1963, Belfast, NI) creates complex and enigmatic sculptures, articulated through a diverse vocabulary of materials. In this instance, a new material –concrete cloth – is used alongside Hapaska's signature fibreglass resin, wood, aluminium, and synthetic fur. In her new sculptures at Art Basel, with affectionate titles like LoveUs and Touch, Hapaska’s dual forms reach out to one another, playfully expressing feelings of connectivity and kinship, but also loneliness and interiority, through strange and surprising means. 


The intensively worked and generally small-scale canvases of Merlin James (b. 1960, Cardiff, UK) encompass a wide variety of subject matter including empty interiors, rural landscapes, architecture and scenes of sexual intimacy. Kerlin Gallery’s selection of paintings for Art Basel includes work from across two decades, an approach that highlights both James's diversity and his consistency, with motifs, ideas and processes resurfacing across the artist's career in a cyclical fashion.

Deeply influenced by science fiction, the fast movement of Jan Pleitner’s (b.1984, Oldenburg) jolting lines reflect both his dynamic, durational approach to painting, often completing works in single, marathon sessions, and also the speed at which the world operates on a more minute level: the speed at which sound or light can travel, for instance, or the speed at which signals are sent and received by the brain. For Art Basel, Pleitner has created his most ambitious work yet – a vast, urgent and otherworldly five-metre oil painting that expands and deepens his artistic vocabulary.


With support from Culture Ireland.

For all media enquiries, contact Rosa Abbott +3531 670 9093 |


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