New works made by Rita Ackermann, Ambera Wellmann, Catherine Goodman, Glenn Ligon, Angel Otero, Avery Singer and Flora Yukhnovich debut

Artists with major 2024 museum and institutional projects, including, in South Korea, Nicolas Party at Ho-Am Art Museum and Ambera Wellmann at Gwangju Biannale; in Japan, Louise Bourgeois at Mori Art Museum Tokyo; and, in Germany, Mark Bradford at Hamburger Bahnhof, Berlin. Hauser & Wirth returns to Frieze Seoul this year with a presentation focused on its celebrated gallery artists.

At the fair this week, visitors will discover exceptional paintings by Rita Ackermann, Louise Bourgeois, Frank Bowling, Mark Bradford, Catherine Goodman, Jenny Holzer, Roni Horn, Luchita Hurtado, Glenn Ligon, Paul McCarthy, Angel Otero, Nicolas Party, Avery Singer, Anj Smith, Pat Steir, Henry Taylor, Keith Tyson, Ambera Wellmann, and Flora Yukhnovich, reflecting the diversity and depth of the gallery’s cross-generational program.

Other highlights straight from the artists’ studios include:

• A new work by Avery Singer, ‘Free Fall’ (2024), capturing the artist‘s dynamic visual rhetoric that employs the binary language of computer program and industrial materials while engaging with the tradition of painting and the legacy of Modernism. The title holds further personal resonance for the artist, reflecting on the traumatic events of 9/11 in New York, which she witnessed firsthand as a teenager, instilling an autobiographical layer to the work.

• Rita Ackermann’s ‘Transparent Shutters’ (2024), a remarkable example from the artist’s newest body of work. By building up and removing layers of figurative imagery and gestural brushstrokes, the artist creates a highly textured canvas that brims with energy and movement. The work appears to be in a constant state of forming and reforming, with various forms and figures dissolving almost as soon as they are detected.

Featured in the presentation are works by artists with major 2024 museum and institutional projects, including, in South Korea, Nicolas Party at Ho-Am Art Museum and Ambera Wellmann at Gwangju Biannale; and in Germany, Mark Bradford at Hamburger Bahnhof, Berlin.

Complementing Louise Bourgeois’s exhibition at Mori Art Museum Tokyo in Japan, ‘Femme’ (2003) is an extraordinary and significant late work that reflects on the artist’s persistent concerns with the cycles of life - the polarities of birth and death, growth and decay - as well as her anxiety over the reality of separation and togetherness.

Further show-stoppers include Henry Taylor’s ‘Blue Period’ (2023), epitomizing his prodigious painting process. Celebrating Black culture and history, this work depicts a figure based on an anonymous portrait the artist found in a newspaper and, as the title affirms, references the storied Blue Period (1901-1904) by famous master Pablo Picasso.