LISTE ART FAIR BASEL 2025

The booth features four artists: Haneyl Choi, Xiyadie, Minjeong An, and Chang Kon Lim. Each navigates the tension between interior and exterior, revealing complexities of identity, vulnerability, and bodily autonomy.

Covering the back wall is Haneyl Choi’s sculptural work Physically: Emanating rhythm of glistening intestines (2023), part of his ongoing ‘Physicality’ series. The piece resembles fragmented internal organs rendered in glossy, fleshy textures that feel both raw and tactile. Blending queerness with bodily structure, Choi reclaims the body as a space of emotion, resistance, and transformation. This work is being exhibited for the first time.

Along one side wall are works by Xiyadie, whose intricate papercuts—crafted with water-based dyes and Chinese pigments on Xuan paper—reinterpret a traditional folk art form through a queer lens. His scenes of intimacy and desire reassert visibility for personal stories often silenced or erased.

The presentation opens with Minjeong An’s large-scale digital print Self-Portrait_Rachaph (2007), also on view at MoMA New York. Suspended from a wooden bar at the entrance, the work visualises the body as a living archive of emotional and physical experience. Using scientific symbols and mapping techniques, An transforms abstraction into something deeply personal and evocative.

On the opposite wall, Chang Kon Lim’s paintings from the series ‘A Vacant Man’ appear folded, bent, or wrapped around the space, distorting the human form. His fragmented male nudes—rendered in fleshy reds and crumpled contours—challenge traditional views of the body. Lim approaches painting sculpturally, treating the figure as a material surface to be shaped, rearranged, and reimagined.

Exoskeleton presents the body as both boundary and threshold—at once adorned, regulated, and reclaimed. Across sculpture, painting, digital print, and papercut, the booth reflects on how bodies resist simple definition.