11am – 8pm (Early entry, VIP Red Card and Opening Night Ticket) 12pm - 8pm (General Admission)
Sunday, January 11, 2026
11am – 6pm (Early entry, VIP Red Card and Opening Night Ticket) 12pm - 6pm (General Admission)
THE 31ST ANNUAL LA ART SHOW
THE MOST COMPREHENSIVE INTERNATIONAL CONTEMPORARY ART SHOW IN AMERICA
Los Angeles has emerged as a global epicenter of art & culture, with a distinct, interwoven multi-cultural influence unique to the city. Diversity is our strength and art is most impactful when it includes or transcends all borders. As LA rises as the world-class destination for art, the LA Art Show continues to lead the way with innovative programming and oneof-a-kind experiences for an expanding collecting audience.
The LA Art Show is an unparalleled international art experience showcasing galleries, museums, and non-profit organizations from around the world exhibiting painting, sculpture, works on paper, installation, photography, design, video and performance. All works presented by galleries are available for your purchasing pleasure.
More than 180,000 square feet of exhibition space is committed to today’s prominent galleries. These domestic and international galleries, beyond their booths, curate special exhibits that are at the forefront of the burgeoning contemporary art movement. The fair offers an extraordinary array of works and experiences in specialized sections.
PALM BEACH SHOW GROUP
Dear Friends,
Whether you are a seasoned collector or merely an admirer of the arts, we are certain that the LA Art Show will provide you with a special experience in the world of Modern and Contemporary Art. We have created the most diverse art show in the world.
We strive towards making the LA Art Show a premier international arts destination, in the likes of Art Basel, Frieze, and The Armory Show.
Art has always been at the forefront of society, bravely going where others feared to tread, whether it was the use of color, texture, composition, or materials, artists have always pushed the envelope.
It takes a discerning eye and measure of courage to embrace and appreciate the new and the different and today’s collectors are a brave and appreciative crowd.
A show of this magnitude requires coordinated efforts from a myriad of people, and I wish to thank my entire team, especially Kassandra Voyagis, whose dedication and hard work made this show possible. I am grateful to all our new participants and to the many great galleries that return each year and travel here so that we may enjoy their spectacular works of art.
The LA Art Show is proud to serve as a vehicle for today’s galleries to showcase their artists. Our guests are provided the opportunity to enjoy a unique assortment of creative expression from all corners of the globe.
I am proud to welcome you to the 31st edition of the LA Art Show and to celebrate the fertile efforts of the human mind.
Enjoy the Show!
Scott Diament President/CEO Palm Beach Show Group
Welcome to LA Art Show 2026!
We are excited to return once again supported by some of our long-time exhibitors while welcoming many more who are new to our show.
The LA Art Show is the oldest and longest running art fair in Los Angeles, and we have remained resilient as our beloved city recovered after the devastation of the fires that ravaged our neighborhoods and businesses last year. Los Angeles is home to our show, and we are deeply rooted in the city that has always supported us for over 30 years.
What continues to motivate us is art’s unique power to heal and unite communities, and the spirit of Los Angeles. Beyond our borders, we have also been touched by the solidarity shown by our international art community. Reenergized, the LA Art Show continues to serve as a platform for creativity and connection, contributing to the renewal of our city’s artistic ecosystem.
This year, our show again maintains a strong international representation with an expanded presence from United Kingdom galleries and 15 galleries from South Korea and Japan, and we are thrilled to welcome the fair’s first exhibitors from Ireland, Switzerland, Poland, Israel and South Africa.
Our show has always been about community and inclusivity, and we strive to be a force for all that is progressive and positive. As the most comprehensive art fair on the West Coast, we have always presented one of the most diverse and engaging programs in the world.
In my role as Producer and Director of the show, I take nothing for granted. I remain grateful to every member of our team, working tirelessly and graciously under pressure, especially Marisa Caichiolo, Katrina Fernandez, Jinn Ong, Naso Kavourinos, and Wuang-Ee Blum, for their unwavering dedication and passion. Their optimism for what is possible, and their faith in my leadership, continue to be an inspiration. I am happy to share the culmination of our collective hard work as we look ahead.
Enjoy the show!
Kassandra Voyagis Director/Producer LA Art Show & Art Palm Beach
2026 OPENING NIGHT PREMIERE
BENEFITING THE AMERICAN HEART ASSOCIATION’S LIFE IS WHY™ CAMPAIGN
2026 OFFICIAL HOST:
Actress
JANUARY 7 | 6-10PM
THE LA ART SHOW & FRIENDS OF THE AMERICAN HEART ASSOCIATION INVITE YOU TO JOIN AN EVENING BENEFITING THE AMERICAN HEART ASSOCIATION’S LIFE IS WHY™ CAMPAIGN FEATURING: ART, PERFORMANCE ART, MUSIC, BEVERAGES & DELICIOUS HORS D’OEUVRES FROM SELECT LA RESTAURANTS.
Past LA Art Show hosts from left to right: Jenna Dewan (2025), Lucy Hale (2024),Ashley Tisdale (2023), Kaia Gerber (2022), Rita Ora (2021), Sofia Vergara (2020), Kate Beckinsale (2019), Art Ambassador Gavin Rossdale (2019), Jon Hamm (2018), Emma Roberts (2017)
About the American Heart Association:
The American Heart Association is a relentless force for a world of longer, healthier lives. We are dedicated to ensuring equitable health in all communities.
Founded in 1924 by six cardiologists, our organization is grounded in the belief that scientific research leads the way to better treatment, prevention and – ultimately – a cure for these leading causes of death and disability. The AHA is proud to be the leading nonprofit funding cardiovascular and cerebrovascular disease research. Bold investments have led to significant medical advancements including the first artificial heart valve, implantable pacemakers, cholesterol lowering medications and techniques for CPR.
For 100 years, the American Heart Association (AHA) has saved and improved lives, pioneered scientific discovery, and advocated for healthy public policies in communities across the country. These bold moves have helped transform our nation’s health and significantly reduce heart disease and stroke death rates. However, those gains have not been shared equitably. Black, Hispanic, Native American, Asian and LGBTQ people have suffered and died disproportionately. So have people in underresourced communities all over the country. These longtime disparities were magnified, and even worsened, by the COVID-19 pandemic. With overall death rates actually rising in recent years, we face a global health crisis that threatens us all. But the American Heart Association stands ready. Success over a century has prepared us for this moment.
And the American Heart Association is just getting started. The Centennial Celebration is harnessing our historic success to fuel our relentless pursuit of equitable health for all into the AHA Second Century. Through collaboration with numerous organizations, and powered by millions of volunteers, we fund innovative research, advocate for the public’s health and share lifesaving resources.
To learn more about the Life Is Why We Give campaign and other participating companies, please visit www.heart.org/lifeiswhywegive. Connect with us on heart.org, Facebook, Twitter or by calling 1-800-AHA-USA1.
MODERN + CONTEMPORARY
The largest section of programming at the LA Art Show, Modern + Contemporary exhibits the vast spectrum of contemporary painting, illustration, sculpture and more from galleries in Los Angeles, across the U.S., and from countries all around the world.
ARATELA
8170 Beverly Blvd, Suite 104, Los Angeles, CA 90048
912 East 3rd Street, Los Angeles, CA 90013 310 890 8833 | gallery@fabrikmedia.com www.fabrikprojects.com
Los Angeles | CA 917 653 5332 | info@frenetk.com www.frenetk.com
EVENING LIGHT BY THE LAKE JIYOUNG PARK, 2026
Oil on canvas
29’’ x 24’’
GALLERY AFTERNOON
10, World Cup buk-ro 42na-gil, Mapo-gu, Seoul, Republic of Korea +82 (2) 730 2001 | info@nooncorp.co.kr www.galleryafternoon.com
GALLERY ARTWALL
LEAD ON TO FORTUNE
JI SEON KIM, 2025
Mixed media on canvas
51’’ x 20’’
GALLERY ARTWALL
Room 206, Second Shopping Center, 29, Hwajeong-ro, Deogyang-gu, Goyang-si, Gyeonggi-do, Republic of Korea +82 10 2333 9092 | galleryartwall@naver.com www.gallery-artwall.com
SCARECROW PERSON #4 WON NAMGOONG, 2025
Acrylic on knitted canvas
36’’ x 28’’ x 2’’
GALLERY DES ARTS
341 Baekdun-ro, Buk-myeon, Gapyeong-gun, Gyeonggi-do, Republic of Korea 424 212 1708 | graceykim0208@gmail.com
www.namsongart.com | www.husuabimaul.co.kr
28.6’’ x 23.8’’
GALLERY EYN
13, Samseong-ro 92-gil, Gangnam-gu, Seoul, Republic of Korea +82 10 2411 8520 | eyn2411@gmail.com
Tanzanite necklace and earrings, set in white gold and micro pave white diamonds
LA
DIVERSEartLA is a special programming section devoted to nurturing the creative energy of international collectors, artists, curators, museums and non-profits by connecting them directly with audiences in Los Angeles. The LA Art Show donates 50,000 square feet of exhibition space to participating organizations each year as our civic engagement, and the featured work is not for sale. DIVERSEartLA is curated by Marisa Caichiolo with individual curators from institutions around the world.
The Biennials and Art Institutions in the Contemporary Art Ecosystem
DIVERSEartLA 2026 is a living examination of how contemporary art circulates, interfaces, and evolves across a global ecosystem of biennials and art institutions. This year, we present seven international Biennials, including Gwangju Biennial (Korea), Cuenca Biennial (Ecuador), NYLAAT Triennial (New York), SACO Biennial (Chile), and NoMade Biennial along with other significant platforms and leading institutions, all positioned within a shared ecological frame.
Since its founding in 1895, the Venice Biennale has remained the most influential model. After World War II, biennials and triennials across cities like São Paulo, Istanbul, and Johannesburg expanded global representation, embracing social critique and experimental media while navigating tensions around inclusion, markets, and cultural diplomacy.
Biennials invite urgency, experimentation, and immediacy. They illuminate emergent practices, foster cross-disciplinary collaboration, and host field-wide dialogues beyond the walls of traditional museums.
Art institutions provide durable memory, methodological rigor, and sustained programming, ensuring innovations are archived, contextualized, and accessible to future generations. Together, they form a dynamic continuum: sparks of innovation followed by reflection, stewardship, and dissemination, keeping the field responsive to diverse publics.
In Latin America and other regions contending with rapid sociopolitical change, biennials are re-emerging as laboratories of critical thought. They read and rewrite the conflicts of our time, migration, memory, community, body sovereignty, and territory, while foregrounding sustainability and resilience.
This edition pays particular attention to place: how venues, geography, and local communities shape biennial and museum activities, and how those activities, in turn, shape place through curatorial interventions, community projects, and participatory formats. You may encounter AGUAS, and other works that foreground care, connection, and collective action as a mode of inquiry and transformation.
DIVERSEartLA is curated by Marisa Caichiolo
AQUAS
AGUAS is an ongoing exploration of rivers, inviting community participation through a ritual of river cleansing. For DIVERSEartLA, the artist presents AGUAS, centered on the Los Angeles River. Volunteers take selfies, which are placed in developing trays, becoming fleeting images that emerge and fade—mirroring our fragile connection to the natural world. Each participant becomes a visual narrator, witnessing the flow of the environment and the interdependence of humans and nature.
AGUAS is not just a meditation on environmental change; it is a collaborative act of care, listening, and restoration.
Eugenia Vargas Pereira has participated in numerous Biennials, including the Havana Biennial, Aperto X Venice Biennale, XX Biennial of Photography in Mexico City, Biennale Rotterdam, Casablanca Biennale, and the 50th Venice Biennale, among others.
ARTIST: EUGENIA VARGAS PEREIRA
THE ROADS IN YOU
The Roads in You (formerly Roads of Your Veins) is an interactive biometric data artwork that invites participants to scan their veins and discover the roads that trace their unique vein patterns. Vein data, one of the most intriguing forms of biometric information, reveal intricate networks whose lines resemble the roads and pathways that surround us. The comparison highlights how our vascular networks and the roads of the world share principles of connectivity, flow, and direction, yet vary in speed, intensity, and condition.
This new work examines line segmentation, vascular structure, and the parallels between inner and outer routes, veins and roads alike, diversely weaving through bodies and landscapes. Participants may export their data as a personalized keepsake in the form of 3D-printed sculptures, turning a moment of data collection into a tactile, enduring memory of the encounter.
The Roads in You invites an exploration of the relationship between individuals and their environments, revealed through hidden patterns beneath the skin, vein recognition technologies, image processing, and artificial intelligence. It also gestures toward broader possibilities: how complex datasets can be interpreted through beauty, ambiguity, and wonder.
Notes for visitors: Your participation is voluntary. All data collected is anonymized and used solely for the artistic experience and the creation of your personalized keepsake, if you opt in. The project foregrounds curiosity about how we see and measure the body, environment, and the space they share. Consider how the intimate map of your veins can illuminate connections to the world around you, and what stories emerge when art, science, and technology meet.
ARTIST: YOON CHUNG HAN
ARTIST: YOON CHUNG HAN
LA RUECA “FOREST MEMORY”
La Rueca, the first textile art space in Córdoba, Argentina, was created in 1974 by visual artist Graciela Szamrey. Artists exhibited their work through thread, the umbilical cord that, since ancient times, reveals identity. With the strength generated by love of the work, the group deeply researches the possibilities of textile art; from flat weaving to the latest contemporary trends. Threads, textures, warp and weft cross… and each finds in the other the exact half of a whole.
“Forest Memory”
The devastation of forests in Argentina has social and environmental consequences of alarming scope. The awakening to such a local scenario led us to create this work, which, with the arrival of the pandemic, significantly broadened its meaning by connecting us with a global experience of destruction. Climate change and ecosystem degradation are some of the major aftermaths. The installation rehearses the scene of a forest in the process of fading to visualize and raise awareness about the environmental issue that affects the planet. The spectral weave of the absent forest is not only a trace that we record in memory and that saves us from the danger of oblivion but also a warning about the future that builds the ways of life of our civilizations.
Land-escape and the Aura of Distance is a multi-faceted digital installation using projectors, colored light, Mixed Reality headsets, sound, and physical paintings.
Visitors will be able to explore a series of interactive abstract digital landscapes created by Bendler Browning in an ever-changing journey through virtual worlds. These imaginary spaces are inspired by plein air drawings made while moving through real world travels, and studio painted impressions of shelters and vistas.
Donning a Mixed Reality headset, viewers will see their real world surroundings as well as gesturally painted virtual environments existing only within the headset. Visitors are presented with the opportunity to move through vibrant, immersive painterly environments while walking only steps within the exhibition space. The series of Mixed Reality environments offer a range of experiences, movements and viewpoints which offer agency into how much of any one place or time is possible to be seen or navigated. Environments include : windows revealing slowly drifting landscape paintings, with expanded gestures only visible through the window frames; a painting that has become the entire space of the floor and grown upward to resemble a jungle of painted marks which disappear when a visitor moves through them; a series of paintings which grow beyond their edges when an individual walks close to them; a painting growing downward from the ceiling, wondering whether the world makes any sense at all.
Within the physical environment but also visible through the headsets, visitors also encounter a series of large and small animated projections. The projections are the result of a live computer program which merges physical and virtual paintings and relays a fluid travelogue through an endless evolution of imagery. The two screens offer dual views of the same route marked by painting landmarks, but one view is a forward motion while the other is a reverse. While each individual has a personalized experience within their own headset, they can see other visitors also wearing a headset and moving through their own unique path. Participants simultaneously experience a communal space while sectioned away from each other, akin to virtual meetings and online interactions.
A pulsating soundtrack composed of natural and mechanical rhythms moves along with the projections and Mixed Reality environments. Birdsong, wind, footsteps, traffic, mixed with background punctuation from familiar artificial noise connects the installation to a hybrid sense of indoor/outdoor and organic/artificial. As the digital age and artificial intelligence continue to grow while the natural environment is threatened by climate change, this installation alludes to questions of what future landscape may be.
ARTIST: ARDEN BENDLER BROWNING
MARCOS RAMÍREZ ERRE: BIENNIALS OF THE PAST, THEMES OF THE PRESENT
A transborder artist working between San Diego and Tijuana, Marcos Ramírez ERRE (b. 1961, Tijuana, Baja California) creates compelling works that critically explore border regions, encouraging viewers to reflect on their own connections to these spaces.
Beginning with InSite 97 in 1997 and ending with Site Santa Fe in 2014, the exhibition features works like Toy-an Horse (1997), a two-headed wooden horse straddling the border between the United States and Mexico, symbolizing the complex relationship that unites them, and Stripes and Fence Forever (Homage to Jasper Johns) (1997), a rusted metal piece resembling the border fence while referencing Jasper Johns, an American artist known for his depictions of the American flag, included in the 2000 Whitney Biennial in New York City.
In a prescient manner, ERRE’s contribution to the Second Moscow Biennale of Contemporary Art (2007), Russian Blue from The Road to Perdition series, presents a billboard-style list of countries Russia has invaded since 1921, emphasizing themes of expansionism and geopolitical conflict. This work, along with others, underscores ERRE’s bi-national identity, exemplifying what it means to live and work on both sides of the border, as described by writer and historian Edgardo Bermejo Mora.
ARTIST: MARCOS RAMÍREZ ERRE
NEW YORK LATIN AMERICAN TRIENNIAL – NYLAAT
The New York Latin American Art Triennial (NYLAAT) has established itself as one of the most active institutional platforms dedicated to the promotion, research, and dissemination of Latin American art in the United States. With an internationally oriented curatorial model and a network of venues across New York City, the Triennial advances initiatives that strengthen Latin America’s cultural presence in one of the world’s most influential artistic capitals. Its programming encompasses large-scale exhibitions, artist residencies, educational projects, specialized publications, and ongoing collaborations with museums, universities, and cultural organizations. These efforts foster a transnational dialogue that connects artists from Latin America and its diaspora with global audiences, expanding opportunities for recognition and visibility within the international art circuit.
More than a periodic event, NYLAAT functions as a dynamic institution that researches, supports, and amplifies diverse contemporary practices. Its mission is to create spaces of recognition for the multiple voices of Latin American art, promote new critical perspectives, and contribute meaningfully to the strengthening of Latin America’s presence within the global cultural landscape.
CUENCA BIENNIAL (ECUADOR) – 40-YEAR ANNIVERSARY
The Game: Biennial of Biennials
The documentary addressing the XVII Cuenca Biennial unfolds as a visual research tool that, through the lens of play, explores the dynamics that influence the artistic and curatorial creation of this edition. Here, the camera acts as an epistemological resource that offers the opportunity to observe the phases of creation, their tensions and methodologies, unveiling the procedural aspect of each proposal and its staging.
Play, seen as a mental strategy, an experimental environment, and a flexible structure of meaning, becomes the core for analyzing the practices of the artists and curators involved. Each proposal is considered from an angle that highlights its internal logic, its systems of rules, its trial-and-error methods, and the shaping of alternative worlds. Likewise, the film investigates the curatorial role as an act of translation, negotiation of ideas, and mediation that organizes meanings within the exhibition space.
Through a meticulous approach, the visual record emphasizes the connections among curators, artists, works, conflicts, and staging; the critical actions that support each work; and the reflective processes that shape each exhibition. Thus, the film, in addition to capturing the process of installing the XVII Biennial, generates knowledge about it, positioning play as a category of analysis and a practice that shapes the artistic and curatorial dynamics of contemporary art.
NOMADE BIENNIAL
Nomade Biennial is a project created by the critic and curator Hernán Pacurucu from Ecuador and the visual artist and independent Chilean curator Víctor Hugo Bravo, from 2015 to the present. It is a space in transit, a multiple collectivity that, from autonomous and independent production, generates a series of reflections on the systems and visibility of contemporary art. A collectivity in transit generating thought, addressing border or institutional exhibition spaces, conducting workshops, publications of books, conferences, mobile residences, settlements, and multiple interdisciplinary alliances as a platform, a biosphere of autonomous economy, which articulates other forms of human relationship rooted in utopias, experiments, mistakes, and reflections in relation to the context.
Articulating a political and emotional view of the new forms of social gathering, fundamentally anchored in collaborative work and affects. Creating multiple networks that generate work nodes, enabling spaces and bringing people together under a common ideological umbrella. Cultivating from artistic creation possible scenarios of communication and coexistence that shape society. Nomade configures new ways of understanding the biennial format, developing a series of deconstructive strategies.
SACO BIENNIAL (CHILE)
SACO Corporation is a nonprofit cultural organization that positions itself internationally due to the impact of its management and its quantitative and qualitative results in the major copper and lithium mining capital. Its work has expanded the visual arts in Latin America through exhibitions, research at the intersection of art and science, educational programs, interventions in natural spaces, and artistic residencies in the world’s driest desert.
Since 2012 it has developed the SACO Contemporary Art Biennial. Each edition is carried out under a different curatorial concept and is distinguished by its “museum without a museum” program, which transforms places not necessarily tied to culture into spaces where the community encounters art. Following the exhibitions, the artwork materials are reused, under a pioneering circular economy logic in the international biennale ecosystem. In addition to exhibitions, SACO organizes residencies, in which artists from around the world can approach the planet’s clearest skies, engage with the indigenous cultures of the region, and connect with leading scientists in fields related to the Atacama Desert, such as geology, microbiology, astronomy, among others.
The corporation’s mission is to establish a permanent center of reflection and dialogue through the artwork, addressing the absence of institutions dedicated to pursuing these aims in the Antofagasta region. All its educational activities come together in its permanent education program, a school without a school. To date, the Corporation’s activities have been carried out in Chile, Argentina, Mexico, Colombia, Brazil, Germany, Ecuador, Spain, Switzerland, Poland, and Norway.
WORLD TEXTILE ART BIENNIAL
The WTA Organization was founded in 1997 in the city of Miami, Florida, United States, under the name Women in Textile Art. Pilar Tobón, a curator and Colombian textile artist, posed this great challenge given the need to reclaim textile art at local and global levels. Tobón has always pursued the objectives of supporting, disseminating, promoting, and fostering textile artists and their works.
In 2009, given the inclusive and universal character of textile art, the name was changed to World Textile Art. The World Textile Art Biennial has been held since 2000. It has taken place in the United States (2 editions), Venezuela, Costa Rica, Argentina, Mexico, Uruguay, Spain, and Chile.
To meet the outlined objectives, the director created the WTA Contemporary Textile Art Biennial, nomadic in nature, unique in its kind in the world. This first version was held in 2000 at the Museum of Latin American Art of Florida. With the Biennial, local cultural practices and the natural and human diversity of the host country are promoted and disseminated to visitors from around the world who attend the great textile gathering.
GWANGJU BIENNIAL (KOREA)
The Gwangju Biennale is an international contemporary art event founded in South Korea in 1995, established in memory of the 1980 Gwangju Democratization Movement. It is one of Asia’s oldest and most prestigious biennials, held every two years, and features exhibitions, performances, and educational programs from around the world. Hosted by the Gwangju Biennale Foundation and the city of Gwangju, it serves as a platform for cultural exchange and discourse, with a mission to promote art, cultural history, and the city itself.
OFFICIAL
PAVILION OF CHILE
AT THE ARSENALE
CO-CURATED BY MARISA
CAICHIOLO & DERMIS LEÓN
Inter-Reality, by artist Norton Maza, curated by Marisa Cachiolo and Dermis León and managed by Claudia Pertuzé, also as part of the team Beatrice Di Girolamo and architect Mathias Klotz, was selected to represent Chile at the 61st Venice Art Biennale, an event to be held from May 9 to November 22, 2026, in the Italian city. Chile’s participation in the Venice Biennale is the result of inter-institutional collaboration between the Ministry of Cultures, Arts and Heritage, through its Secretariat of Visual Arts, the Ministry of Foreign Affairs, through the Division of Cultures, Arts, Heritage and Public Diplomacy (DIRAC), and the Embassy of Chile in Italy.
FEATURED EXHIBITIONS
Expanding beyond the confines of booth spaces, Featured Exhibitions create immersive experiences to engage audiences through thoughtprovoking artworks, performances and other exhibitions offered by participating galleries, highlighting works that will be talked about for years to come.
Highlights this year include works from J & J Art, Inc., Gallery Wald, Art of Contemporary Africa, Corridor Contemporary, and John Martin Gallery
ELEGANT FREEDOM: NATURE, TRADITION, AND THE HUMAN SPIRIT
J & J Art, Inc. will present a curated collection of Jinny Suh’s latest works under the theme “Elegant Freedom: Nature, Tradition, and the Human Spirit.” The exhibition aims to create a peaceful, immersive environment that connects viewers with the emotional beauty of Korean culture, told through contemporary visual language.
Jinny Suh’s work is rooted in nature—particularly chickens, birds, and butterflies— and uses these symbols to explore themes of freedom, elegance, and human connection. Through the use of Korean Hanji (traditional paper) and vibrant traditional Korean colors, her artwork reinterprets time-honored values for modern viewers, bringing warmth and emotional resonance to the often cold, urban spaces of today’s world.
As Jinny expresses in her own words: “At the heart of my work is Korean Hanji (traditional handmade paper) – a material with over 8,000 years of history, known for its resilience, elegance, and eco-friendliness. Remarkably, Hanji has been internationally recognized for its quality and preservation capabilities: in 2016, Italy’s prestigious National Institute of Archives and Heritage officially certified Hanji from Uiryeong, Korea, as a restoration-grade material for European cultural heritage. Since then, Hanji has been used to restore some of Italy’s most treasured artifacts, including St. Francis’ handwritten prayers and the Losano Gospel.
This is the spirit I want to bring to the LA Art Show – a celebration of Korean cultural excellence through sustainable, meaningful materials and visual storytelling. In a world increasingly impacted by war, climate crisis, displacement, and ecological destruction, I create works that reflect a longing for peace, beauty, and healing.”
Her work presents a thoughtful and poetic lens on life, inviting viewers into an experience that is both visually rich and spiritually comforting. This artistic approach has resonated deeply with collectors in both the East and West, leading to a growing international following and strong acquisition history.
PRESENTED BY J & J ART, INC.
INCLUDING YOU AND ME
With a decade-long career that bridges traditional sculptural techniques and contemporary conceptualism, Mun Min has established himself through a distinctive series titled “Including You and Me”. His practice reflects a philosophical exploration of modern humanity in relation to technology and identity, utilizing materials such as metal, resin, and mixed media.
The “Including You and Me” series simplifies the human figure into geometric forms, portraying modern individuals confined within square frameworks. These boxed forms symbolize the structured society we live in – an architecture we’ve collectively built. Through this perspective, the artist observes and narrates the endurance and subtle resistance of those existing within these confines.
Mun Min intentionally limits expressive gestures within these frames, allowing emotion to surface not through overt facial or hand expressions, but via the faint traces found in posture – through the tension of the back or the spacing of the feet. These figures, though structurally constrained, quietly reveal their inner lives. His work is less about physical form and more about how repressed emotions are subliminally expressed – how the inner self attempts to surface from within the rigid square boundary.
Working primarily with metals like aluminum and copper, Moon renders these emotions as organic movements captured in cold, industrial material. Despite the hardness of his medium, the sculptures pulse with warmth and quiet vitality, suggesting the persistent emotional undercurrents within a heavily ordered world.
The square-shaped spaces in Mun Min’s work function as more than just structural motifs; they symbolize the framework that defines and regulates human existence and social order. Within these constructed boundaries, individuals are assigned standardized identities and drift between anonymity and individuality.
DR. ESTHER MAHLANGU
Esther Mahlangu is the globally acclaimed visual artist and much-loved cultural ambassador of the Ndebele nation. She was born in 1935 and has made a valuable contribution to contemporary art over eight decades. In 1991, Dr Mahlangu became the first woman and first African to be invited to participate in the BMW Art Car Collection. Bettina Korek, the CEO, and Hans Ulrich Obrist, the artistic director of the Serpentine recently said ‘Esther Mahlangu is one of the most important artists of her time’ when they unveiled her mural at the Serpentine in 2024.
The Melrose Gallery/Art of Contemporary Africa, Dr Mahlangu’s exclusive global representative, will present a special feature at the show. This activation includes several of her bright, abstract paintings and vessels for which she has won such global acclaim, a short video interview, and a timeline featuring some of her impressive career highlights
YIGAL OZERI
Yigal Ozeri’s solo presentation offers an intimate encounter with one of today’s most celebrated painters. Known for his hyper-realistic technique and cinematic sensibility, Ozeri captures the fleeting, often overlooked moments of everyday life with uncommon tenderness. His deep commitment to realism is not merely technical, it is emotional, rooted in a lifelong fascination with the human presence, natural light, and the quiet narratives that unfold within ordinary spaces.
Ozeri presents a selection of portraits of women situated in diverse environments: the bustling streets, the glow of diners, and the serenity of natural landscapes. These works reveal his ability to balance specificity with universality – the individuality of each sitter is rendered with extraordinary detail, yet the scenes feel both familiar and dreamlike. Alongsidethese portraits, Ozeri showcases interior scenes from classic diners, the textured charm of London streets, and sweeping vistas of nature, each painted with his signature devotion to atmosphere and mood.
Together, these works form a cohesive window into Ozeri’s world – one that blends realism with poetic observation. Whether depicting the chrome surfaces of a diner booth, the muted tones of a rainy London afternoon, or the dappled light filtering through a forest, Ozeri transforms everyday environments into luminous visual stories. His presentation offers not only a survey of his remarkable range but a reminder of the beauty embedded in the immediate, the intimate, and the real.
PAUL SIMONON
Simonon took up a scholarship at the Byam Shaw School of Art in Kensington (now part of Central Saint Martin’s College of Art and Design). It was at this time that he bumped into Mick Jones who asked him if he wanted to form a band. As an aspiring painter who had never previously played bass, he first took a lead role in the band’s visual identity, rapidly learning to play the instrument as he went along. Vocalist Joe Strummer decided to join up with the two on sight and The Clash went on to become one of the most iconic and influential bands of the last 40 years. Styled by Simonon, The Clash were recently cited as a key influence in the 2013 exhibition at the The Metropolitan Museum of Art in New York, Punk: Chaos to Couture.
Simonon has always been passionate about art, and since the band split in the mid-1980s painting has become as important as his music career. His passion for painting began as a boy, his Father was an avid amateur painter using Paul’s bedroom as his studio. It was here, surrounded by books and pictures pinned to the walls that he “first encountered the world of art and beyond.”
PRESENTED BY JOHN MARTIN GALLERY
OFFICIAL SHOW SPONSOR
ATHLETES FOR LIFE™ FOUNDATION
OFFICIAL ART INSURANCE SPONSOR
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American Museum of Natural History
Art21
Aspen Art Fair
Cathedral of St. John the Divine
IFPDA Art Fair
LA Art Show
Malta Tourism Authority
MoCA (LA)
MOCA Toronto
Morrison Hotel Gallery
MOCA Toronto
Paul Taylor Dance Company
Paris Photo
Philip Guston Foundation
The Armory Show
Todd Merrill Studio
Wellin Museum of Art
Whitney Museum of American Art
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The Thinking Fiend
(2024) by Other World
Shop the world’s finest art, antiques, jewelry and design by masters of the 18th through the 21st-century, commission free, from over 500 of the world’s finest dealers on incollect.com. Interior Designers & Architects are invited to join IN THE TRADE . incollect.com/trade
Ideelart
Twenty First Gallery
galerie bruno massa
Todd Merrill Studio
Twentieth
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Throckmorton Fine Art
Rahel Aima
Luca Lo Pinto
Anna Clegg
Abdellah Taïa
Arash Nassiri
Olivia Aherne
Alex Bennett Andrew Berardini
Emily Verla Bovino
Nadim Choufi
Sahar Khalifeh
Yasmine Anlan Huang
Natalia Ángeles Vieyra
“So we just hope and hope and hope and hope.”
Reynaldo Rivera, from Visual, p. 230
Rocío Aranda-Alvarado
Augustine Paredes
Dani Blanga Gubbay
Marcela Guerrero
Reynaldo Rivera Davide Stucchi
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