White Cube is pleased to return to the fifth edition of Frieze Seoul with works by artists including Alia Ahmad, El Anatsui, Georg Baselitz, Sara Flores, Theaster Gates, Mona Hatoum, Marguerite Humeau, Park Seo-Bo, Tesfaye Urgessa, Marina Rheingantz and Danh Vo, among others.
Opening concurrently at White Cube Seoul is Marina Rheingantz’s (b. 1983, Araraquara, Brazil) first solo exhibition in Korea, debuting new works made in the artist’s São Paulo studio over the past year.
Rheingantz often draws inspiration for her paintings and textile works from Brazil’s sublime natural ecosystem. Titled ‘Míope’, meaning ‘nearsighted’, the exhibition includes works that combine aerial viewpoints with shifting macro- and microscopic perspectives through abstract mark-making. Visceral and deliberately unresolved, the artist’s forms appear to dissolve and resurface with the movement of the eye.
Frieze Seoul
2–5 September 2026
Booth A20
Marina Rheingantz
Míope
1 September – 24 October 2026
White Cube Seoul
At Frieze Seoul 2026, booth highlights include:
Mona Hatoum’s sculpture
Orbital III (2018). Taking the form of a globe, a recurrent motif in Hatoum’s practice, the metal structure is punctuated by clumps of concrete rubble. This work appears to have been assembled from the remnants of destroyed buildings, suggesting a world in a permanent state of destruction.
Ecriture
No.221121 (2022) by Park Seo-Bo, a founding figure of the Dansaekwha movement in Korea. Part of the ‘Newspaper Ecritures’, the last series the artist made before his passing in 2023, this work revisits his late-1970s Paris practice, when he used to clean his brushes on Le Monde newspapers. In ‘Newspaper Ecritures’, Park layered paint on the surface to disrupt the noise of the headlines and advertisements beneath, just as meditation mutes the hubbub of the world.
Skei (The Flask) (2024) by Marguerite Humeau, a nominee for the 2026 Turner Prize – one of the most prestigious awards in contemporary visual art. Originally created for her solo exhibition at ICA Miami in 2024, the work reflects the artist’s contemplation of the desolate, sandy desert landscape, imagining a flask rising from the earth like a mirage to quench the thirst of a weary traveller.
El Anatsui’s
MivEvi VII (2025) is part of a recent series in which the works are composed of innumerable bottle caps. Conceived as double-sided and designed to be suspended freely in space,
MivEvi VII establishes a reciprocal relationship between its two surfaces and remains structurally open and responsive to site.
Sara Flores’s
Untitled (Maya Kené 2, 2017) (2017). An intricate design of line systems and geometric forms, the work powerfully encapsulates visions experienced by the artist during Indigenous healing rituals and offers a poignant reflection on the community’s spiritual life. It coincides with ‘Sara Flores: From Other Worlds’ at Peru Pavilion, Venice Biennale (9 May – 22 November 2026).
Fiber of grace (Schutz) 2 (2025), a painting by Tesfaye Urgessa. In this densely peopled tableau, bodies appear pressed against one another, even enmeshed with their domestic surroundings. It follows the announcement of the gallery’s representation of the artist in August 2026 and precedes his
debut exhibition with White Cube, opening in Hong Kong on 9 September 2026.
