CHART Art Fair 2026

Throughout her oeuvre, Mamma Andersson has explored and reshaped the genres of still life, interiors, and landscapes. In her prints, Andersson expresses haunting moods of quiet mystery through their colours and scenic atmospheres. Potpurri is striking for its combination of a still-life composition against a background of a sepia-toned, stylised landscape. Andersson’s uncanny ability to translate unspoken moods into imagery through her use of a combination of intaglio techniques gives voice to her striking visual language.

Printmaking was an integral part of Georg Baselitz’s (1938–2026) practice, with painting and etching informing one another throughout his career. In contrast to his large-scale canvases, Baselitz’s prints are more intimate, often focusing on details found in his paintings.
This print takes as its starting point a well-known self-portrait by Katsushika Hokusai (1760–1849), the Japanese Ukiyo-e master. In the original ink drawing of 1842, Hokusai depicted himself in a kimono as an old man at the age of 83, an image that occupied Baselitz for many years. Identifying with Hokusai’s figure, Baselitz, himself in his eighties, reflected on his own work and position as an artist.
Next to Hokusai is a hand captured mid-gesture. The study of the human form and its individual parts was a hallmark of Baselitz’s practice. In drawings, paintings and prints, hands and feet recur as significant motifs throughout his career. Perhaps the hand shown here is the artist’s own, captured in a fleeting moment.

Per Kirkeby’s (1938-2018) series of large-scale monotypes from 2016 is characterised by remarkably dynamic mark-making, radiant colour and spatial depth. A geologist by training, Kirkeby cultivated a visual repertoire of shapes and colours inspired by natural phenomena, and his monotypes provide striking examples of his signature gestural brushstroke.

Both monumental in scale and closely attuned to the dimensions of the human body, the monotypes testify to Kirkeby’s enduring ability to intuitively activate a surface, leaving behind a palpable trace of his presence. The monotypes are remarkable not only for their visual intensity but also for the circumstances of their creation. In the later years of his career, Kirkeby worked from a wheelchair, yet he continued to produce these ambitious, large-scale prints.

With this relation between his body and the large-scale format in mind, the monotypes serve as evidence of Kirkeby’s indomitable artistic legacy, transcending physical limitations.

A woman’s face is seen through a cloverleaf-shaped opening. The white foreground emphazises the act of looking as it creates an opening from which the woman comes into view. Individual details are accentuated using the blind embossing technique, which highlights sections of the work by printing without ink.

Clover I and II depict the actress Carol Speed portraying the title character in the 1974 blaxploitation horror movie Abby. The plot of the film is so closely based on that of The Exorcist that it was withdrawn from theatres shortly after its release due to accusations of plagiarism; its main unique feature being its heavy reliance on racist and sexualized stereotypes in the portrayal of its protagonist.

Orupabo utilises the contradictory potential of her imagery by detaching it from its original context: formerly the object of the viewer’s voyeuristic gaze, the portrayed figure now stares back out of the image. Isolated from the film plot, it becomes possible to re-interpret her frothing facial expression perhaps as anger, despair or disgust in the face of the exploitative gaze to which she is subjected.

In this collaborative print, Rirkrit Tiravanija and Danh Vo reflect on questions of belonging and otherness through personal histories and collective narratives. The work is based on a 1968 photograph from Tiravanija’s family album, taken by his father, showing the young artist wearing pointed prosthetic ears that evoke Mr. Spock from Star Trek. As the only alien aboard the Starship, Spock’s dual heritage and sense of otherness resonate with broader themes of identity and belonging.

Vo intervenes with a walnut wood frame and an engraved glass inscription, written in calligraphy by his father, Phung Vo. The phrase  In Aliens We Trust is a play on the official U.S. motto In God We Trust. This serves as a counterstatement to the current political climate, particularly the contentious immigration policies in the United States, where Tiravanija currently resides. A slight modification turns the statement into a gesture of worship for otherness. Together, image and frame transform a photograph of childhood alienness into a site of shared authorship and interconnected narratives.