Salon

Through a rhythmic variety of lines and textures, Untitled (2006) by Per Kirkeby oscillates between abstraction and traditional landscape painting. Horizontal bands, vertical daubs, cross-hatching and frenzied marks emulate layered rock strata in a manner that challenges perspective, as elaborated by art critic and historian Charles Darwent in his accompanying audio essay.

Expressing an exuberant collision of colour and line, this monumental painting by Frank Stella belongs to the artist’s acclaimed ‘Saskatchewan’ series, produced in the late 1960s and early 1970s, marking Stella’s departure from his earlier commitment to straight lines.

Insile by Julie Mehretu reflects on a site of political conflict through a discordant abstraction that resists formal resolution. This presentation features an exclusive audio essay by leading academic and scholar of Contemporary art, Suzanne Cotter, who shares unparalleled insights into the artist's working practice.

Raw dynamism, unrestrained gesture and dense materiality define this visceral early work by Shiraga Kazuo, whose use of profound bodily exertion to rupture the conventions of painting and representation earned him international acclaim in the latter half of the 20th century.

Atrabiliarios (1993) by Doris Salcedo offers a haunting testimonial to loss and the unresolved afterlives of the disappeared. This work exemplifies Salcedo’s practice of political archaeology: exhuming the remnants of violence to shape charged sites of remembrance and mourning.

Among the earliest of Peter Doig’s celebrated cabin paintings, Hill Houses (Green Version) (1991) announces the artist’s emergence as an architect of dreamlike terrains – landscapes conditioned by the slippages of memory, the dislocations of geography and the ambiguities of time.