At Art Basel 2026, the galleries bitforms and Max Estrella present a solo exhibition by Mexican-Canadian media artist Rafael Lozano-Hemmer. The exhibition in Art Basel‘s Zero 10 sector features digital installations that explore the intersection of human perception and computational systems through computer vision and public participation. In this video, Sabrina Di Lisa (bitforms gallery) guides us through the exhibition and provides detailed insights into the works on display.

Central to the presentation is the premiere of Black Hole (2026), a parabolic reflector with a panoptic camera that extracts facial features in real time. The show also includes Spectral Subjects (2024), which generates animations from participants’ heat signatures; Broken Mirror (2025), a shifting poetic reconstruction based on viewer perspective; and Pulse Agglomerate (2024), a heartbeat-driven memorial sculpture. The exhibition situates Lozano-Hemmer’s practice within a six-decade lineage of media art, referencing early closed-circuit television works by artists such as Marta Minujín and Nam June Paik. Born in Mexico City in 1967, Lozano-Hemmer holds a degree in physical chemistry and has exhibited extensively worldwide, including representing Mexico at the Venice Biennale. His participatory installations often transform public spaces using technology, light, and performance.

Rafael Lozano-Hemmer / bitforms gallery and Max Estrella at Art Basel 2026 Zero 10. Basel (Switzerland), June 21, 2026.

00:00 – Intro 00:46 – Broken Mirror Ono 03:18 – Spectral Subjects 05:53 – Pulse Agglomerate 09:26 – Black Hole

In this video, we talk with Michela Cartot about DEAFBEEF’s works presented by Asprey Studio at Art Basel‘s Zero 10 sector. Michela Cartot is the PR & Marketing Manager of Asprey Studio, a gallery and atelier specializing in the intersection of digital & physical mediums, based in Kent, UK.
DEAFBEEF is a Canadian generative audiovisual artist, engineer, musician, and blacksmith based in Toronto. He is known for creating highly constrained, on-chain generative art — primarily audiovisual works (sound + visuals/animation) that emphasize permanence, minimalism, and low-level programming.
Asprey Studio’s solo presentation of works by DEAFBEEF brings together interactive audiovisual installations, hand-forged iron sculptures, generative artworks, and photographic works inspired by Eadweard Muybridge’s pioneering studies of motion. Spanning sound, code, craftsmanship, and image-making, the presentation traces unexpected connections between historical and contemporary technologies.

DEAFBEEF / Asprey Studio at Art Basel 2026 Zero 10. Basel (Switzerland), June 21, 2026.

During Art Basel 2026, Gallery Drei (Cologne) presented Julia Scher’s “Ameratherm Ultra Cooking Lab” (2000) at the Basel Social Club. Ameratherm Ultra Cooking Lab restages a series of works that Julia Scher realized in 2000 at the Andrea Rosen Gallery in New York. The installation transforms the exhibition space into a techno-alchemical laboratory, featuring microwave ovens and electromagnetic technology arranged on workbenches, displayed, and reconfigured into hybrid media objects.

Official description:

“ameratherm ultra cooking lab’ restages a series of works that Julia Scher realized in 2000 at the Andrea Rosen Gallery in New York. The installation is centered around microwaves—literally and thematically—both as microwave ovens and as electromagnetic microwaves. These are set in a kind of techno-alchemical laboratory in the exhibition space—on workbenches, in various display situations, dismantled and transformed into fantastic media chimeras. In the context of Scher’s examination of the entanglements of technology, society, and desire, microwaves emerge as interfaces, allegories, and ur-appliances of the information age.

The exhibition is also closely connected to Julia Scher’s teaching position at MIT in Cambridge. Here, in the legendary and now-demolished Building 20 and its so-called “Rad Lab,” the basics of microwave radar and surveillance technology were developed, making MIT the largest wartime R&D contractor of the U.S. and prototyping strong institutional links between government, industry, and academia. Originally intended only for the duration of the war and six months thereafter, the building was a dilapidated monument to the economic expansion of the state of war, infamous as an interdisciplinary hub of progress in the post-war, pre-9/11 U.S. Building 20 had its hand in basically everything: from the rise of the household microwave oven and the observation of cosmic microwave background radiation, to information technologies, modern linguistics, 3D printing, and early student hacker culture.”

–Baptist Ohrtmann

Julia Scher: Ameratherm – Ultra Cooking Lab, 2000. Drei (Cologne) at Basel Social Club 2026. Basel (Switzerland), June 20, 2026.

Join us for a complete, immersive video tour of Art Basel’s Unlimited sector at the 2026 edition in Basel, Switzerland. This nearly 90-minute video explores one of the art world’s most exciting large-scale exhibition platforms, featuring monumental installations, colossal sculptures, expansive video projections, and groundbreaking performances that transcend the limits of traditional fair booths. It occupies a vast 16,000-square-meter hall at Messe Basel and showcases around 50–70 large-scale works each year (59 projects in 2026).

Art Basel 2026 Unlimited Sector. Basel (Switzerland), June 19, 2026.

00:00:00 – Intro 00:00:20 – Chris Burden: L.A.P.D. Uniforms, 1993 00:01:09 – Benoît Piéron: Cairns, 2026 00:02:58 – Wael Shawky: I Am Hymns of the New Temples, 2023-2026 00:05:17 – Maia Ruth Lee: Once we leave a place is it there, 2024-2025 00:06:17 – Oskar Schlemmer: Homo, Composition in Metal, 1930-1931 00:06:45 – John Armleder: Lash, 2026 00:08:00 – Helen Marten: Writing A Play (dark blue orchard), 2023 00:09:18 – Niki de Saint Phalle: Blue Obelisk with Flowers, 1992 00:10:20 – Antonio Dias: The Illustration of Art, 1973 00:11:05 – Ai Weiwei: Iron Grass, 2014 00:12:26 – Antony Gormley: HERE and NOW, 2024 00:14:30 – Goshka Macuga: Exhibition M: A Re-enactment, 2023-2026 00:17:23 – Rashid Al Khalifa: Crate Maze – White, 2025 00:21:32 – Dana Schutz: Sea Group, 2022 00:22:37 – Jacques Villeglé: Poterne des Peupliers, 1991 00:23:37 – Ed Ruscha: A, B, C, 1987 00:24:25 – Philip-Lorca diCorcia: Hustlers, 1990-1992 00:25:21 – Tobias Spichtig: Drama, 2026 00:28:06 – Peter Hujar: The Gracie Mansion Show, 1974-1985 00:28:56 – Muhannad Shono: Towers of Infinite Horizons, 2026 00:30:42 – Kim Bohie: The Days, 2022 00:31:08 – Marius Steiger: Five Cars (Terror Management), 2026 00:32:51 – Matthew Barney: Cosmic Hunt, 2020 00:34:56 – Berni Searle: Profiile, 2002 00:36:59 – Mitsuko Miwa: Excavation of a Future City, 1996-1997 00:37:25 – Tuan Andrew Nguyen: Repercussions, 2026 00:39:50 – Oskar Schlemmer: Homo, Composition in Metal, 1930-1931 00:40:17 – Thomas Ruff: jpegs: The September 11th Photographs, 2004-2007 00:41:25 – Nikita Kadan: Tryvoha (The Sirens and the Mast), 2023 00:43:11 – Junko Oki: anthology, 2026 00:45:47 – Ulala Imai: Studio, 2026 00:46:10 – Agrade Camíz: Safira, 2025 00:46:56 – Agostino Bonalumi: Struttura modulare bianca, 1970 00:48:25 – Timur Si-Qin: Mariposita, 2026 00:50:30 – Zahrah Alghamdi: Streams Move Oceans, 2026 00:52:00 – Woody De Othello: two sides that hold truth, 2026 00:54:26 – Theaster Gates: A libation in Uncertain Times, 2024 00:56:03 – Rochelle Goldberg: precious stones, 2026 00:58:33 – Qiu Shihua: Untitled, 1999 00:58:49 – Torkwase Dyson: Way Over There Inside Me (A Festival of Inches), 2022 01:00:52 – Inci Eviner: Reenactment of Heaven, 2018 01:03:18 – Jorinde Voigt: Song of the Earth – ‚The Shift’ and ‚Divine Territory’, 2016 01:04:35 – Maria Loizidou: Where Am I Now?, 2025 01:06:02 – Edith Dekyndt: Le cru et le cuit / The Raw and the Cooked, 2024-2026 01:07:42 – Bruce Nauman: Dead End Tunnel Folded into Four Arms with Common Walls, 1980 01:09:15 – George Rouy: Procession, 2026 01:09:46 – Andreas Lolis: Army of Scarecrows, 2026 01:10:56 – Ryan Gander: I’ve felt everything I’m going to feel – The Unspeakable World, 2026 01:11:11 – Herbert Brandl: Untitled, 2019 01:11:36 – Eva Jospin: Panorama, 2016 01:14:21 – Tracey Emin: Knowing My Enemy, 2002 01:15:36 – Alfredo Jaar: The Power of Words, 1984/2021 01:17:42 – Luc Tuymans: Heat & Musicians, 2025 01:18:21 – Yayoi Kusama: Flowers That Bloom in the Cosmos, 2022 01:19:09 – Zsófia Keresztes: Mother Tongue II., 2026 01:19:47 – Yuichi Hirako: Tree, Forest, Mountain, 2025 01:20:57 – Isa Genzken: Untitled, 2018 01:22:58 – Vanessa Beecroft: Untitled (Izanami)

In this video we take a look at the third edition of Zero 10 at Art Basel in Basel 2026. Zero 10 is Art Basel’s dedicated global initiative and sector for art of the digital era. It focuses on works shaped by technology, including digital, generative, computational, media, algorithmic, AI-driven, robotic, and immersive practices.

Art Basel 2026 Zero 10. Basel (Switzerland), June 18, 2026.

00:00 – Intro 00:17 – John Gerrard (Fellowship) 00:45 – Hito Steyerl (Andrew Kreps Gallery / Esther Schipper) 01:41 – !Mediengruppe Bitnik, etoy, JODI, UBERMORGEN, Studer/van den Berg (HEK) 02:45 – Agnieszka Kurant (Marian Goodman) 03:06 – Harold Cohen (Gazelli Art House) 03:34 – William Mapan (Art Blocks) 04:50 – Andreas Gursky (Sprüth Magers) 05:11 – Jan Robert Leegte (Office Impart / Upstream Gallery) 05:37 – Various (ArtMeta) 07:29 – Ryoji Ikeda (Almine Rech) 08:30 – Andreas Gysin, Leander Herzog (Nguyen Wahed) 09:44 – Vera Molnar (Galerie Oniris / Interface Gallery) 09:59 – 0xDEAFBEEF (Asprey Studio) 11:02 – Avery Singer (Hauser & Wirth) 11:23 – Aziza Kadyri (eastcontemporary) 12:10 – Rafael Lozano-Hemmer (bitforms gallery / Max Estrella)