Sean Kelly Gallery’s TEFAF New York 2025 booth unites Mariko Mori, Kehinde Wiley, Yves Klein, and more in a dialogue on time, identity, and material.
Sculptural stardust, plastic florals, and International Klein Blue—Sean Kelly Gallery’s presentation at TEFAF New York 2025 feels less like a booth and more like a pocket universe where past and future trade secrets.
Curated as a conversation across centuries, the stand mingles 20th‑century titans with future‑leaning contemporaries, inviting visitors to time‑travel via plasma, pigment, and poetic gesture.
Why not start at the beginning—of everything? Mori’s luminescent sculpture references the plasma state of the early universe, fusing advanced LED tech with Shinto‑inflected serenity. Suspended like a celestial relic, it asks viewers to ponder the invisible forces that sculpt existence—and selfies.
Her latest Clippings canvas answers, Yes, and stylishly. By embedding shards of marble into gestural washes, Moyer turns architectural debris into meditative seascapes. The result? A painting that feels both weightless and tectonic, proof that gravity is optional at TEFAF.
Kehinde Wiley updates Grand Manner portraiture with Portrait of El Hadji Malick Gueye, layering Senegalese textiles behind a gaze that challenges colonial legacies.
Hugo McCloud turns discarded plastic into lush still‑lifes—think Dutch Golden Age meets climate‑age reality.
Idris Khan compresses stamped texts into shimmering palimpsests, where memory, scripture, and aluminum collide.
Janaina Tschäpe splashes color‑field ecstasy across canvases that blur shoreline, bloodstream, and dreamscape.
Two iconic works make the case for metaphysical aerobics:
Victoria of Samothrace: The ancient Nike recast in electric IKB—equal parts relic and sci‑fi avatar.
Leap into the Void: The 1960 photomontage where Klein “defies” gravity on a Paris street, reminding us that documentation is as malleable as marble.
Laurent Grasso’s Studies into the Past splice meteorological oddities into Renaissance vistas, questioning whether history ever played by the rules.
Wu Chi‑Tsung’s cyanotype collages revive Chinese shan shui landscapes through light‑sensitive chemistry, proving that mountains can be printed—and time developed.
Sean Kelly’s TEFAF outing proves that art history isn’t linear—it’s a loop. Whether you’re dazzled by Klein’s monochromes, meditating on Moyer’s marble, or catching cosmic rays from Mori’s plasma, the stand invites you to reconsider time, material, and your place between them. In a fair famed for connoisseurship, Sean Kelly delivers a reminder: the future has a past—and both are negotiable.
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