Coinciding with Art Basel Paris 2026, White Cube is pleased to present Tracey Emin’s (b. 1963, London) debut solo exhibition at the Paris gallery.
Featuring new paintings that highlight Emin’s expressive painterly vocabulary, alongside intimately sized bronze sculptures, the presentation follows the artist’s critically acclaimed Tate Modern exhibition ‘Tracey Emin: A Second Life’, which tours to the Louisiana Museum, Denmark, from 8 October 2026 – 18 April 2027.
Concurrently with the exhibition, Art Basel Paris, White Cube and the Cité de l’architecture et du patrimoine present three monumental bronze sculptures by Emin at the Parvis des Droits-de-l’Homme in Paris.
The works, titled I lay here for you (2018), I Followed You to the End (2024), and I Will Not Be Alone (2025), explore the female body as a site of vulnerability, endurance, and transformation. Across the three sculptures, the body moves from prone to kneeling to seated, tracing a progression from surrender to insistent resilience.
The works will be on view from 14 October until 1 November, marking the first Art Basel Paris Public Program project to be installed at the Parvis des Droits-de-l’Homme.
At the fair (Booth B34), White Cube presents a painting by the artist alongside further works by Georg Baselitz, Alexander Calder, Helen Frankenthaler, Louise Giovanelli, Antony Gormley, David Hammons, Marguerite Humeau, Suleman Aqeel Khilji, Ibrahim Mahama, Giorgio Morandi and Francis Picabia, among others.
Highlights include:
Tracey Emin’s visceral painting Waiting For A moment of You (2025). Featuring a reclining female figure, the work evokes the fragility and imperfection of human existence.
Ibrahim Mahama’s textile and metal work Nyamuthia (2025-26), coinciding with the artist’s major solo exhibition ‘The Harvest Season’ at Fondation Cartier, Paris (opening 22 October 2026).
Two gold paintings by Georg Baselitz titled Große schwarze Volksflügel (Large Black Popular Wings) and Gold ohne Hemd (Gold Without Shirt) (both 2025). A testament to the late-artist’s drive to return, distil and resolve the motifs that consumed him during a career that spanned more than 60 years, these large-scale works are among the last he made before his passing in April 2026.
A new painting by London-based artist Suleman Aqeel Khilji, who recently joined the gallery and had his debut exhibition at White Cube Paris this year.
Louise Giovanelli’s Eleausis (2025). Drawing on contemporary and historical imagery, as well as sacred and profane motifs, Giovanelli examines the physical qualities of paint, revealing its capacity to hold, transmit and complicate meaning. It precedes the artist’s exhibition at White Cube Mason’s Yard, London (20 November 2026 – 16 January 2027).
A sculpture by Antony Gormley, part of the artist’s ‘Open Blockwork’ series. In spring 2027 his largest sculpture to date, titled Elemental, will be unveiled on the shores of Bigeum Island in Shinan Province, South Korea.
Venus of Planina, A 37-year-old female human has ingested an olm's brain (2024), a sculpture by 2026 Turner Prize nominee Marguerite Humeau. The Turner Prize exhibition will be on view from 26 September 2026 to 29 March 2027 at MIMA (Middlesbrough Institute of Modern Art), United Kingdom.
Giorgio Morandi’s Natura morta (1959), an example of the Italian artist’s signature paintings depicting humble everyday objects rendered in muted colour palettes, presented alongside Helen Frankenthaler’s painting Lower Threshold (1972).
Untitled (c.1950), a freestanding mobile sculpture by Alexander Calder; Francis Picabia’s ink and charcoal on paper Concour hippique (c.1932-34); and Untitled (1969), a work on paper by David Hammons.
