Lisson Gallery at MAZE Art Gstaad 2026
5 February 2026
Lisson Gallery is pleased to announce its inaugural participation in MAZE Art Gstaad 2026, showcasing a selection of works from the gallery’s international roster of artists, including Anish Kapoor, Ding Yi, Hiroshi Sugimoto, Jack Pierson, Laure Prouvost, Leiko Ikemura, Rodney Graham, Richard Long and Tony Cragg, among others. Encompassing painting, photography, and sculpture, the presentation foregrounds each artist’s distinctive approach to texture, structure, and concept.
Anchoring the booth is a suite of oil on paper works by Rodney Graham, shown concurrently with the artist’s 15th solo exhibition at Lisson Gallery. Graham’s multidisciplinary practice weaves together the threads of cultural and intellectual history through photography, film, music, performance and painting. Cubo-Automatist Composition #10 (2006) and Cubo-Automatist Composition #8 (2006), part of a series of heavily impastoed abstractions, revisit classical modernist tropes without overt irony. Drawing on a strain of Cubism associated with Pablo Picasso’s work of the 1920s, these compositions reflect Graham’s sustained dialogue with art-historical form and process.
Anish Kapoor’s Cherry Red Stardust (2023) asserts its presence with its vivid colour, yet behaves beyond the confines of its surface and objectness. Reflections discord with reality, suggesting an infinite and alternative space contained within the mirror and suspending the life it depicts in spatiotemporal limbo. Alongside this, Hiroshi Sugimoto’s photographic work Past Presence 001, Tall Figure, III, Alberto Giacometti (2013), examines a solitary figure in a sculpture garden. Rooted in the conceptualisation of the image, the photograph is realised through its precise execution, with Sugimoto typically employing a large-format camera to translate thought into form.
Elsewhere on the booth, a series of tempera and oil on jute works by Leiko Ikemura, coinciding with her solo exhibition Riding Horizon at Lisson Los Angeles, open through March 28th, 2026. In watching the scape (2019), Ikemura reconfigures the European Romantic landscape, translating emotion and memory into a cosmic worldview in which feminine forms dissolve into and emerge from mythical forestscapes, mountains, plants, and mineral structures. Tony Cragg presents stainless steel sculpture Justine (2025), a work that exemplifies his sustained investigation into how material and form shape perception, thought, and emotional response.
Nearby, Ding Yi’s Appearance of Crosses 2025-7 (2025) depicts tiny crosses applied in varied colours, that coalesce into mosaic-like compositions oscillating between microcosmic and macrocosmic registers. Fields of black hatching punctuated by constellatory motifs echo the starry skies that have featured in Ding Yi’s works for two decades. Jack Pierson’s NOSTALGIA (2024), a sculptural assemblage of painted wooden and metal letters, reconsiders what is staged and what is casual, a theme that is unquestionably his own, in which material, object, subject, fragment and life all unite. Laure Prouvost’s Klaus (2022), a handblown Murano glass and bronze sculpture, brings human, avian, and aquatic forms into graceful entanglement, evoking interdependence and mutual reliance amid the conditions of climate change and global migration.
Image: Hiroshi Sugimoto, Past Presence 001, Tall Figure, III, Alberto Giacometti, 2013, Gelatin-silver print, 148.6 x 119.4 cm, 58 1/2 x 47 in
