Lisson Gallery at Art Basel Hong Kong 2026
8 March 2026
Lisson Gallery returns to Art Basel Hong Kong, showcasing a selection of works by artists from its roster, along with a presentation by Masaomi Yasunaga at Encounters, with booth highlights including works by Olga de Amaral, Tony Cragg, Shirazeh Houshiary, Tishan Hsu, Leiko Ikemura, Oliver Lee Jackson, Anish Kapoor, Josh Kline, Christopher Le Brun, Li Ran, Tatsuo Miyajima, Julian Opie, Hiroshi Sugimoto, Masaomi Yasunaga and Yu Hong.
At Encounters, Masaomi Yasunaga presents a series of new sculptures that foreground his distinctive approach of elevating glaze—conventionally a decorative material in ceramics—into a primary medium. Titled A Certain Trajectory, the presentation centres on the concept of ‘time,’ a temporal scale extending beyond individual human experience and illuminating a fundamental attribute of Yasunaga’s practice: an incessantly evolving transitional condition, unbound from specific spatial or chronological coordinates. As the vessel forms undergo significant transformation during the firing process, the artist’s intervention and ego are dissolved, making room for a return to nature. Collectively, the works invite viewers into both an imagined past and a speculative future.
In the booth, Tishan Hsu presents skin-screen: revealed (single 3) (2026), offering a portal for the vestigial body’s extension outside of the physical realm into a digital one. In emphasizing the blurred line between the human body and the virtual, Hsu questions our relationships with new technology and how they change our internal landscape, remapping our psyches and sense of identity. The rendered organic forms are synthetic, AI-generated images of orifices like eyes, ears, and belly-buttons that are integrated with industrial materials and protruding silicone forms. In dialogue with Hsu’s panel is Artist Fare (2024) by Josh Kline, where the forms of creative labour are examined with a series of reproduced artists’ hands as silicone casts arranged on commercial shelving, each clutching an item that reflects the merging of their personal and professional identities.
Preceding his upcoming major presentation at Palazzo Manfrin in Venice this May, Anish Kapoor shows Pagan Gold Centre to Red (2025), a reflective concave mirror work, alongside an oil painting churn with expressive brushwork and violent energy. Tony Cragg’s sculpture Contradiction (2024) shifts between a centrifugal vortex and an ascending vertical form, appearing to resist gravity while reaching skyward. While Leiko Ikemura’s cast glass object Small Head with Tail (2020/22) radiates luminosity and colour both through and from the works’ surfaces.
Elsewhere, large-scale diptych Phases of the Moon V (2025) by Christopher Le Brun finds inspiration from lunar references throughout art history, speaking in the symbolic language of memory and imagination. Shirazeh Houshiary’s Cicada (2023) seemingly depicts of the wings of this insect, which extends her ongoing exploration of time, space, materiality, and the origins of life. No. 18 (10.19.18) (2018) is an ethereal large-scale painting with ‘paint people’ by Oliver Lee Jackson, whose first solo exhibition in Asia is currently on view in Lisson Shanghai.
Further highlights include a portrait by Yu Hong, preceding her solo exhibition at Lisson New York in late 2026; walking figures rendered in wooden beads and painted resin by Julian Opie; a suite of Seascapes and Opticks photography by Hiroshi Sugimoto’s series; oil on linen Xunmei in 1928 (2025) by Li Ran; as well as a digital panel from Tatsuo Miyajima’s Many Lives series.
