Antenna Space is pleased to announce its participation in Art Basel Paris 2025, presenting works by Guillaume Dénervaud, Guan Xiao, Hanna Hur, Stanislava Kovalčíková, Mire Lee, Li Yong Xiang and Peng Zuqiang at 1F-L15.

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Installation view

The accompanying text to Guan Xiao’s sculpture, “The swan spins, knees drawn to the chest,” creates an elegant, dreamlike atmosphere for Blue Eyelashe. The artist continues her common practice of using short, fable-like sentences to narrate or set the mood for her work. The swan’s rotation symbolizes intense self-display and eternal dance, while the knees drawn to the chest suggest bodily contraction, inner defensiveness, and unease. The Blue Eyelash imbue the sculpture with a dreamlike expression, as if it were the embodiment of solitude and strangeness. Meanwhile, Guan Xiao’s solo exhibition “Teenager” is currently on view at the Kunsthalle Wien in Vienna, running through January 11, 2026.

In the latest commissioned work for the 14th Mercosur Biennial in Brazil, Li Yong Xiang continues his exploration of ‘head sculpture,’ constructing installation paintings and sculptures that can be flexibly combined, resembling a three-dimensional jigsaw puzzle, through oak wood block components. The work Between Eyes and Brains (2025) continues the artist’s reflection on the isolating and fragmenting emphasis of modernity’s ‘anatomical visuality,’ thereby offering a humorous critique of so-called ‘esoteric’ or ‘scientific’ modes of viewing. In the work, the ‘eyes’ that refer to observation and the ‘brains’ that symbolize thought are extracted into indices for the visitor’s inspection. Simultaneously, within the interplay of painting and space, the two are mutually constrained yet intrinsically linked. Between the folds, the work alludes to the fictitious nature of the binary oppositions in observation and thought.

Mire‘s latest ‘Heads’ series of sculptures continues the tradition of displaying classical busts while integrating her long-standing creative characteristic of concrete and industrial waste as medium to simulate human and skeletal forms, thereby generating psychological tension and concepts of trauma. The works present skull-like contours, with the concrete surfaces mimicking the texture of bone, intertwined in a peculiar manner, as if pointing towards some ancient material and life form; they do not entirely belong to humans yet are generated from the industrial remnants of humanity. Between the construction and disintegration of the body system, an atmosphere that is both alienated and intimate is created, allowing the visitor, upon delving deeper, to glimpse those inexpressible intensities of life within their own experience.

Adam (2025) and Eve (2025) are both works by Stanislava Kovalchikova that deconstruct the myth of Genesis. The artist parodies the classic composition in Michelangelo’s The Creation of Adam and completes it across two separate works. In Adam (2025), the canvas is filled with an empty airplane runway under a dark blue sky. The once-sacred moment of touch is devoid of the fantasy and longing of the Garden of Eden; Adam looks away in alarm—is this a surging undercurrent of desire, or the loss of a mocking admonition?

In Guillaume’s new work, the world seems to be stirred by an invisible deployment. The fluidity of life and the chaotic contemporary world appear to coexist in a cycle of mutual engulfment. Reversers–general deployment (2025) continues the dense texture formed by the interweaving of oil paint and pencil. Pipe-like forms and cell-like bubbles expand and intertwine together, as if depicting the very moment an organic world and an artificial system simultaneously ‘breathe.’ Those lines, which seem to possess a nervous quality, constantly self-proliferate and extend, yet reveal a sense of anxiety orchestrated by war, energy, and information systems in deeper layers—a visual pulse that makes us feel situated in a world constantly being scanned and redrawn by the artist.

Peng Zuqiang‘s solo exhibition Afternoon Hearsay recently opened at The Common Guild in Glasgow, Scotland. Concurrently, the artist’s first solo exhibition in an Asian art museum will be presented at the Rockbund Art Museum (RAM) in Shanghai. His new experimental film piece, Traitor, corroded (2025), reveals the artist’s recent practice of exploring the complex relationship between history, media, and personal experience. By transferring and printing a sealed film strip, chemically etching the negative using the Mordançage process, and finally placing it under a darkroom enlarger, the resulting effect is a residual frame with abraded color layers. Here, the original film segment is no longer discernible; the subject of the established narrative, having defected, is gradually eroded and reshaped by the action of time and medium, ultimately becoming an unrecoverable rupture within the archival system.

Hanna Hur‘s work is based on repetitive manual labor, often using a precisely drawn grid system as the foundation for her paintings. Threshold (2024) manifests in the form of oscillating waves. Following a subtle, human-like silhouette that descends from the central silver dot along the upper edge of the frame, it traces a broken sine wave trajectory across the black grid background. This ordered visual language evokes images of perpetual motion and endless cycles. The geometrically characterized composition extends from a cognitive level to a bodily experience, allowing the viewer, in front of the matrix-like work, to gain a resonant perception of a liminal state within a spiritual experience.

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Text and images courtesy of the artists and Antenna Space