Kiang Malingue is pleased to present at Art Basel in Basel more than twenty paintings, sculptures, and videos by Cho Yong-Ik, Tiffany Chung, Ho Tzu Nyen, Truong Cong Tung, Wang Zhibo, Carrie Yamaoka, and Yuan Yuan. Also on view is a large-scale installation by Tiffany Chung in the Unlimited sector, a group of sculptures and installations by Yu Ji in the Parcours sector, and a selection of videos and photographs by Kwan Sheung Chi at Basel Social Club.

Highlights include a suite of “Timepieces” videos by Ho Tzu Nyen, recently shown in the exhibition “Three Stories: Monsters, Opium, Time” at Kiang Malingue’s Hong Kong space. Co-commissioned by Singapore Art Museum, Art Sonje Center, and M+, in collaboration with Museum of Contemporary Art Tokyo and Sharjah Art Foundation, the works are presented on customized screens that render time physical, testifying to time’s paradoxical materiality, elasticity, and relativity. The suite of “Timepieces” is an accompaniment to Ho’s major installation T for Time (2023), currently on view at Mudam Luxembourg, contemplating our contemporary experience of time as rooted in European concepts of linear progression, regulated by the Gregorian calendar, and networked by computers. Ho’s ambitious project raises the question of whether it is possible to reclaim the unassimilated experiences of time that were manifest in Southeast Asia prior to the influence of the West.

Tiffany Chung’s latest embroidery work Global Spice Trade: routes from ancient time to the age of exploration/exploitation (2024-2025) exemplifies how Chung disentangles and reweaves the culinary, economic, and political threads that have shaped the global history of the spice trade for several millennia. Also on view are El Pulpo: UFCo’s Great White Fleet Routes and Properties in Central America & the Caribbean (2020) and Entangled Landscape of Disremembering no.1 (2023), employing various techniques and craftsmanship towards geopolitical histories. Similarly, a group of “The Shapes of Time” lacquer paintings by Truong Cong Tung is a series of meticulous cartographic attempts, offering an aerial view that traces isopleths, histories, tropicality, and weather—the artist insists on the significance of time and temperature in his art.

Carrie Yamaoka’s paintings, 10 by 8 (wall #4) (2024) and 40 by 40 (clear/black #2) (2024) are works of material alchemy composed of reflective polyester film, black vinyl film, and their interaction with urethane resin. Embracing accidents, they gesture at the instability of subjectivity, between improvisation/intention, and methodology/intuition. 24 by 20 (medium bubble) redux (2015/2024) continues the artist’s methodology of revisiting dormant works from her studio, by reconfiguring their constituent parts. By peeling off the surface and using the wood panel support of an older work that bears traces for a new layer of reflective polyester film, the past is brought into and intertwines with the present.

Two recent paintings by Wang Zhibo demonstrate the artist’s fascination with non-causality manifest in juxtapositions: Green Portrait and Pink Hydrangea (2024) identifies the hide-and-seek of countenances that takes place in a myriad of mesmerising textures; Hedgehog (2025), on the other hand, stages a play between supermoon and spears—two elements that could be considered “allotopic”. Yuan Yuan’s Still Life Study  (2025) revisits the artist’s long-term interest in claustrophobic interiors filled with meticulously rendered and contrasting textures, fabulating ways through which an enclosed environment exposes itself to externalities. Cho Yong-Ik’s 18-703 (2018), created at the end of his artistic career, echoes Yuan Yuan’s emphasis on fluidity in an enclosed space, revealing the uniqueness of each painting gesture in an orderly matrix composition.