David Zwirner is pleased to participate in Frieze Seoul 2026.
Highlights include the debut of a painting by Francis Alÿs, Rio Amazonas, Septiembre 22 (2025). Alÿs is known for working across a wide range of mediums, including documentary film, painting, photography, performance, and video. Since the early 1980s, Alÿs has spent time walking through cities and villages, engaging with his surroundings and recording his observations in impressionistic, postcard-size paintings. These compositions play on the historical genre of travel painting and allude to the increasingly global tourism of the contemporary art scene.
Also debuting at the booth is Rose Wylie’s diptych Napoleon (Film Notes) (2026), which relates to her ongoing Film Notes series, in which she paints scenes from movies as filtered through memory. In this painting, she revisits her impressions of the Ridley Scott–directed Napoleon (2023), featuring the American actor Joaquin Phoenix in the titular role. Wylie’s pictographic forms are augmented by words scrawled across their surfaces, offering viewers insight into her process of selecting particular imagery and colors. The artist has built a significant presence in South Korea in recent years, and her large-scale, playful, and vibrant works can be found in prominent local collections, including Seoul’s Arario Museum and Space K. Wylie’s work was the subject of a recent major survey at London’s Royal Academy of Arts.
The gallery’s presentation will also feature two new works by Lucas Arruda, both titled Untitled (from the Deserto-Modelo series) (2026). Arruda’s atmospheric canvases serve as evocative and transcendent conduits for the unveiling of light, memory, and emotion. Since 2013, he has worked exclusively within his expansive and multivalent series Deserto-Modelo. Intricate and meditative, Arruda’s seascapes and junglescapes, depicted in the two paintings respectively, blur the boundaries between memory and imagination, emerging as manifestations of a state of mind rather than objective depictions of reality. While the seascapes are moored only by their barely perceptible horizon lines, the jungles instead dwell in verticality; they depict the quasi-mythical scenery of the Brazilian rainforest, invoking tensions between the real world and human imagination. Arruda’s works will be in dialogue with work by Giorgio Morandi at the booth.
Mamma Andersson’s works embody a distinctive approach to landscape painting that recalls late nineteenth-century romanticism, while also reflecting a contemporary interest in layered, psychological compositions. In Pond (2019), tall, slender, dark trees surround a lake whose opaque surface is covered by both reflections and water lilies. Andersson’s Behind the Curtain (2014) depicts psychologically charged still lifes and interior settings that appear to be constructed as theatrical and domestic fictions.
Also on view are Gerhard Richter’s Abstraktes Bild (Abstract Painting) (2001), from the series that has been central to his practice since 1976 and mediates the primary strains of his oeuvre—painting and photography, as well as figuration and abstraction; Vola (2025), a new painting presented at the fair by Katherine Bernhardt, whose traveling retrospective is on view at Seongnam Arts Center’s Cube Art Museum through September 6; and Suzan Frecon’s purple ocher moroccan (2021), which presents a Moroccan red ochre ovoid form surrounded, as if being held, by purple pigment.
Additional highlights include new works by Walter Price, Dana Schutz, and Rirkrit Tiravanija, alongside important works by Michaël Borremans, Scott Kahn, Steven Shearer, Wolfgang Tillmans, and Luc Tuymans, among others.
