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Art Basel Miami Beach 2025
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Edel Assanti is pleased to present a curated selection of new and previously unseen works at Art Basel Miami Beach 2025. The presentation brings together artists from the gallery’s programme, spanning painting, sculpture, and works on paper.
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Marcin Dudek
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The Gate series depict moments of transformation, emerging from the artist’s personal experience with subjects such as survival economies and sports mega-events. The architecture of the arena returns as a leitmotif throughout Dudek’s work, representing power dynamics, crowd psychology, and a space of both exaltation and traumatic memory. The closed form of Gate III borrows from stadium entrances, narrow openings designed to admit one body at a time, a safeguard against the violence of mass movements.
Marcin Dudek, Artist
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Oren Pinhassi
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Sand gives the surface a desirable and repulsive finish: begging for touch, the coarse outer layers would unforgivingly chafe the rubbing hand. The artist builds its case on this duality of the immediate and the suggested. Harsh skin and airy sand blend with rough fantasies and demure bearings.
-Osman Can Yerebakan, The Brooklyn Rail
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Si On
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Life experiences shape our identities, as we carry memories, hopes, scars, and traumas that accumulate over time, revealing the complex aspects of our humanity
Si On, Artist
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Lonnie Holley
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For decades, artists such as Holley—self-taught and working at a distance from the major art centers (and, until fairly recently, outside the mainstream gallery system)—have largely been sidelined or ignored. Yet the neglect of these works belies their quiet power.
Daniel Culpan, Artforum
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Thornton Dial
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From the complex, exuberant textures of his assemblages to the deft, fluid lines of his drawings, Dial’s facility as an artist was truly extraordinary.
Sheena Wagstaff, The New York Times
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Gordon Cheung
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They are about the rise and fall of civilisations, as well as the romantic language of still-life painting: futile materialism and fragile mortality reflected by the transient beauty of flowers.
Gordon Cheung, Artist
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Agata Bogacka
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My works take up the topic of human relationships at various scales. From the personal scale in close relationships, through functioning in societies, to the relations between citizens and those in power. I believe that all of them are based on the same principles, and that unknowingly we can enter the same type of a relationship at all of these levels.
Agata Bogacka, Artist
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Gerhard Richter
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I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information
Gerhard Richter, Artist
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Yukultji Napangati
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Napangati's paintings speak of dreamings through matrilineal lines that focus on life in the desert and the Marrapinti rock hole, which was a central feature in her childhood. The fine grain-like dots and golden tones remind us of desert textures. Place becomes palpable for the viewer in the painting's shimmer, which evokes the hot and hazy air between the horizon and sun and the shifting of sand dunes.
Maureen Catbagan and Amber Jamilla Musser, The Brooklyn Rail
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Farley Aguilar
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His work brings forgotten histories to the forefront, intertwining past narratives with contemporary concerns such as environmental degradation, societal decline, and how the prioritization of profit affects the world's marginalized communities.
Michelle Tonta, Whitewalls
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Sheida Soleimani
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Soleimani’s works artfully spin a traumatic history and personal losses into a kind of visual poetry that’s thoughtful, mysterious and captivating. And they are odes to her parents as well, in a body of work that celebrates rather than criticizes the family that shaped her.
Martha Schwendener, The New York Times
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Sorel Etrog
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For Etrog, the human head is a landscape in which to explore and articulate the tension between the interior life of humans and the exterior reality they face.
Nicole Beshara,NUVO
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Noémie Goudal
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Whether a photograph is animated, mounted in layers or hung, Goudal’s compelling illusions stitch several timelines together. The human timeline is in her camera shutter, but her tricks and expanded shoots effectively pan out to give a still landscape a sense of movement, or connect it to a past so far back we cannot easily conceive of it.
Jennifer Lucy Allan, The Financial Times
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