For Art Basel 2025, Arcadia Missa is pleased to present new works by programme artists Phoebe Collings-James, Hamishi Farah, Lewis Hammond, Hannah Quinlan & Rosie Hastings, Nnena Kalu, Rene Matić, Coumba Samba and Jan Vorisek.
Phoebe Collings-James (b. 1987 London, UK) is a London-based artist working across sculptural ceramics, installation, video and sound. Using sgraffito techniques, Collings-James’ sculptures contain a symbolic language distinctive to their practice. Using oxide colours, tin glazes and hand carved roulettes that are rolled across the clay’s surface, they create repeat patterns and words across the surface or the artworks. Within their work, they treat clay as a form of language referencing cuneiform clay tablets of Babylonian and Sumerien origin, through which Collings-James forms a direct link to the earliest known forms of communication, providing another route for thinking about linguistics. Through the material itself, along with the processes and modifications, Collings-James questions euro-centric modes of knowledge building and epistemologies.
Recent solo exhibitions include In Practice, SculptureCenter, New York, US (2024); bun babylon; a heretics anthology, Arcadia Missa, London, UK (2023); A Scratch! A Scratch!, Camden Art Centre, London, UK (2021); Relative Strength, Arcadia Missa, London, UK (2018).
Recent group exhibitions include Self Made: Reshaping Identities, Foundling Museum, London, UK (2024); Conversations, Walker Art Gallery, Liverpool, UK (2024); In and Out of Place, Kunstverein Hamburg, Hamburg, DE (2024); Le Magasin CNAC, Grenoble, FR (2023); Phantom Sculpture, Mead Gallery, Warwick Arts Centre, Coventry, UK (2023); Unearthing: Memory, Land, Materiality, The Courtauld Gallery, London, UK (2023); Body Vessel Clay, York Art Gallery, York (2022); Produktive Bildstörung, Kunsthalle Düsseldorf, Düsseldorf (2021); You Feel Me, FACT Liverpool, Liverpool (2019) and Bust Wide Open, Harlem Postcards, Studio Museum Harlem (2017).
Phoebe’s works are in major public collections including Arts Council of England, London (UK); Kadist Foundation, Paris (FR); York Art Gallery, York (UK); Southampton City Art Gallery, Southampton (UK).
Collings-James is a member of B.O.S.S., a QTIBIPOC sound system. B.O.S.S. received a nomination for the Turner Prize in 2021.
In 2025, Collings-James will present a solo exhibition at KINDL, Berlin, DE.
Hamishi Farah (b. 1991, Melbourne AU) is a self-taught artist currently living and working between Berlin, DE and New York, US. Their work in conceptual and figurative painting is situated within the production of a politics and philosophy of representation, with a particular focus on the libidinal afterlife of coloniality and its permeation through contemporary art.
Recent solo exhibitions include Drawings from Airport Love Theme, Institut Funder Bakke, Silkeborg, DK (2025); London, UK, Arcadia Missa, London, UK (2023); Dog Heaven 2: How Sweet the Wound of Jesus Tastes, Fri-Art Kunsthalle, Fribourg, CH (2021) and Condo London, Arcadia Missa, London, UK (2020).
Recent group exhibitions include Undermining the Immediacy, MMK, Frankfurt, DE (2025); transmediale, Haus der Kulturen der Welt, Berlin, DE (2025); Post Scriptum. A museum forgotten by heart, MACRO, Rome, IT (2024); Yours Truly, Nahmad Contemporary, New York, US (2024); Recital, Arcadia Missa, London, UK (2024); Hoi Köln, Kölnischer Kunstverein, Cologne, DE (2023); Zombie Eaters, The Murray Art Museum Albury, Albury, AU (2022); The ‘t’ is Silent, 8th Biennial of Painting, Museum Dhondt-Dhaenens, Sint-Martens Latem, BE (2022); Zombie Eaters, Murray Art Museum, Albury (2022) and When there is no laughing matter, laughing matters, Halle für Kunst Lüneburg, Lüneburg, DE (2021).
Hamishi Farah’s work is part of the National Gallery of Victoria, Melbourne (AU) public collection and Frans Hals Museum, Haarlem, (NL).
Farah will present a solo exhibition at Frac Lorraine, Metz, France in the fall of 2025.
Lewis Hammond (b. 1987, Wolverhampton, UK) lives and works between London, UK and Berlin, DE. His works delve into the psychological states influenced by the anxieties of our contemporary world, amid a global emergency. Combining art historical influences with personal experiences, his works convey a growing collective disquiet within our physical and socio-political landscape. Hammond creates a visual lexicon to explore the complexities of our shifting world through recurring motifs and double meanings, challenging fixed interpretations. With disoriented figures and imagined landscapes, his paintings reflect the perpetual quest for self-identification. By repositioning references from Eurocentric art history, Hammond creates a concentrated and skewed parallel world, offering a poignant reflection of our existing reality.
Selected solo exhibitions include This Glass House, The Perimeter, London, UK (2024); This Glass House, Kunstpalais, Erlangen, DE (2024); Evocações, Ismael Nery and Lewis Hammond, Mendes Wood DM, São Paulo, BR (2023); Turbulent Drift, Arcadia Missa, London, UK (2022); ars viva, Agents of Perception, Kai Art Center, Tallinn, EE (2022); Rising and Falling (While We Were Sleeping), HKFD, Holstebro, DK (2021); ars viva, Brücke Museum, Berlin, DE (2021); While We Were Sleeping, Casa Masaccio, San Giovanni Valdarno, IT (2021).
Selected group exhibitions include 8th Yokohama Triennale “Wild Grass: Our Lives”, Yokohama Museum of Art, Yokohama, JP (2024); Room by Room: Concepts, Themes, and Artists in The Rachofsky Collection, The Warehouse, Dallas, US (2023); Der pinkelnde Tod or what the dead do, Kunstverein Bielefeld, Bielefeld, DE (2023); Particularities, X Museum, Beijing, CN (2021); Possédé.e.s, MOCO, Montpellier, FR (2020) among more.
In 2025 Hammond will open an institutional solo show at ICA Milano presenting a new body of work.
Work can be found in public collections such as Tate, London (UK); Institute of Contemporary Art, Miami (US) and The Hepworth Wakefield, Wakefield (UK).
Hannah Quinlan & Rosie Hastings (b. 1991. Newcastle, London) are a London-based artist duo working across painting, drawing, video, performance and installation. Their collaborative work is linked to their ongoing research and exploration into the relationship between public space, architecture, state infrastructure, gender and sexual identity. More recently, Quinlan and Hastings have focused on fresco painting, a medium traditionally associated with historic and religious artworks. Their paintings depict various power dynamics influenced by class, social relations, and positions of authority, playing out in public space.
Recent solo exhibitions include Arcadia, Arcadia Missa, London, UK (2024); Maison Populaire, Montreuil, FR (2023); Bleak House, Kunsthall Stavanger, Stavanger, NO (2023); Inside, Huset For Kunst & Design, Holstebro, DK (2023); Art Now, Tate Modern, London, UK (2022); Inside, Kunsthalle Osnabrück, DE (2022); In My Room, Mostyn, Wales, UK (2020); and Humber Street Gallery, Hull, UK (2020).
Selected group exhibitions include Gloss: A Measured Response to Recent Video Art, Vanderbilt University Museum of Art, Nashville, US (2024); Onsen Confidential, Yutaka Kikutake Gallery, Tokyo, JP (2024); Divided Selves: Legacies, Memories, Belonging, Herbert Art Gallery & Museum, Coventry, UK (2023); Future Generation Art Prize, Pinchuk Art Centre, Kiev, UA (2021); The Eva Biannial, Limerick, IR (2021); Kiss My Genders, Hayward Gallery, London (2019); Queer Spaces: London, Whitechapel Gallery, London (2019); The Cruising Pavilion, Venice 16th Architecture Biennale, IT (2018).
Hannah Quinlan & Rosie Hasting’s work is in major public collections including British Museum, London (UK); British Council Collection, London (UK); Government Art Collection, London (UK); Hepworth Wakefield, Wakefield (UK); The Fitzwilliam Museum, Cambridge (UK); The Box, Plymouth (UK); David Roberts Art Foundation, London, (UK); Walker Art Gallery, Liverpool (UK); Deutsche Bank Collection, Berlin (DE); Tate Collection (UK); Vanderbilt University (US).
In 2024 Quinlan & Hastings opened a permanent public commission together with Transport for London in St James’ Station, London further looking into their research surrounding public space.
Nnena Kalu (b. 1966, Glasgow) lives and works in London, UK. Her practice is rooted in two-dimensional works, sculptures and installations. Through binding, layering and wrapping materials, Nnena Kalu explores space, scale and materiality with repetitive and durational sculptural processes. Her installations often begin with multiple compact ‘cocoons’ or ‘boulders’ of textiles and paper tightly packed in cellophane and tape. With an emphasis on colour and volume, these spheres of bound materials are clustered together around frameworks and existing structures. Kalu’s energetic installations become an extension of her physical movements, focusing on an important relationship between the artist’s body and her sculptural forms.
Kalu’s two-dimensional works are also viewed as sculptural explorations of space dictated by the length and reach of Nnena’s arms, as well as the size of the paper. Drawings and paintings are frequently produced in pairs, the second an echo of the first, a rhythm is built up and multiple layers are constructed. As with Nnena’s sculptural works, the drawings are an exploration of continuous line, shifting and ever-evolving forms.
Recent solo and group exhibitions include Creations of Care, Kunsthall Stavanger, Stavanger, NO (2025); Nnena Kalu, Arcadia Missa, London, UK (2024); Conversations, Walker Art Gallery, Liverpool, UK (2024); Manifesta 15 Barcelona Metropolitana, Barcelona, ES (2024); Infinite Drawing, Deptford X, London, UK (2022); Studio Voltaire elsewhere, London, UK (2020); Wrapping, Humber Street Gallery, East Yorkshire, UK (2019).
Kalu’s works are a part of the Tate Collection (UK), and the Arts Council Collection (UK).
Nnena Kalu has been shortlisted for the Turner Prize 2025.
Rene Matić (b. 1997, Peterborough, UK) is a London-based artist and writer whose practice spans across photography, film, and sculpture, converging in a meeting place they describe as “rude(ness)” – an evidencing and honouring of the in-between. Matić riffs on a documentary, diaristic style of photography, with snapshots of everyday moments and poetic juxtapositions, which are then used to create installations, grouping images to surreptitiously bring out buried tensions and paradoxes. They take their departure point from dance and music movements such as Northern soul, Ska and 2-Tone, using them as sites to queer and re-imagine the intimacies between West Indian and white working-class culture in Britain.
Recent solo exhibitions include AS OPPOSED TO THE TRUTH, CCA Berlin, Berlin, DE (2024); Rene Matić/Oscar Murillo JAZZ, Kunsthalle Wien Museumsquartier, Vienna, AT (2024); a girl for the living room, Martin Parr Foundation, Bristol, UK (2023); upon this rock, Kunstverein Gartenhaus, Vienna, AT (2023), upon this rock, South London Gallery, London, UK (2022), soul time, Studio Voltaire, London UK (2022), fags for countries that don’t exist but bodies that do, Arcadia Missa, London, UK (2021).
Recent group exhibitions include Conversations, Walker Art Gallery, Liverpool, UK (2024); After the End of History: British Working Class Photography 1989 – 2024, Hayward Gallery, UK (2024); Coventry Biennial, UK (2023), Divided Selves: Legacies, Memories, Belonging, Herbert Art Gallery & Museum, Coventry, UK (2023); Arcadia, Bold Tendencies, London, UK (2021); Bloomberg New Contemporaries, South London Gallery, London, UK (2021) and Friends and Friends of Friends, Schlossmuseum, Linz, AT (2020).
Matić’s works are in several prominent collections including Tate, London (UK); Foundation Louis Vuitton, Paris (FR); UK Government Art Collection, London (UK); Arts Council Collection, London (UK); South London Gallery, London (UK); Walker Art Gallery, Liverpool (UK); Martin Parr Foundation, Bristol (UK); University Arts London Collection, London (UK) Leslie-Lohman Museum of Art, New York (USA); Deutsche Bank Collection, Berlin, (DE).
Rene Matić has been shortlisted for the Turner Prize 2025 for their solo exhibition at CCA Berlin, DE (2024).
Coumba Samba (b. 2000, New York) engages with the impacts of institutional structures on both individual and collective identities through her multimedia and performative practice, questioning dominant cultural narratives. Her works address themes such as consumer culture, social dynamics, and the intersections of technology and identity, exploring the dynamics between mainstream culture and subversive practices. In doing so, she expands the gaze to the global web of power and the continuities of colonialism, highlighting how colonial structures and their legacies continue to shape contemporary social and political landscapes.
Selected solo exhibitions include Dress Code, empire, New York, US (2024); Red Gas, Arcadia Missa, London, UK (2024); Capital, Cell Project Space, London, UK (2024); and Couture, Galerina, London, UK (2023).
Recent group exhibitions include Undermining the Immediacy, MMK, Frankfurt, DE (2025); Ensemble, The Perimeter, London, UK (2025); ZONE, Reena Spaulings, New York, US (2024); A Crooked World, Drei, Cologne, DE (2023); Slow Dance (3), Stadtgalerie, Bern, CH (2023); Ways of Living 3.0, Arcadia Missa, London, UK (2023); World as diagram, work as dance, Emalin, London, UK (2023); Hello, Galerina, London, UK (2022).
Samba recently opened her major solo exhibition deutschland at Kunstverein in Hamburg, Hamburg, DE.
Her works can be found in the public collection of MMK, Frankfurt, (DE).
Jan Vorisek (b. 1987, Basel, CH) is an artist whose practice spans across sculpture, installation, performance, video and experimental music. His installations, akin to high intensity melodramas, leads viewers through experiences exploring themes of intimacy and desire, while evoking unease. Working with industrial materials, Vorisek breaks down separations between safety and danger, desire and repulsion, creating complex illusions that challenge conventional notions of space and connection.
His multidisciplinary practice intertwines theatricality with deep psychological exploration, prompting viewers to engage with the collective unconsciousness of shared narratives. Jan’s artistic exploration is a provocative journey through feedback loops, distortion, and the enigmatic spaces that shape our experiences and memories.
Recent solo exhibitions include Edge, Hour, Substance, 13th Manor Art Prize of the Canton of Zurich, Kunst Museum Winterthur, Winterthur, CH (2023); Music for shipping containers, Arcadia Missa, London, UK (2022); No Sun, Swiss Institute, New York, US (2021); Collapse Poem, Kunsthaus Glarus, Glarus, CH (2020); and Crisis Instrument, Observa- tion Society presented by Bottom Space, Guangzhou, CN (2018).
Recent group exhibitions include Spring 25, CCA Berlin, Berlin, DE (2025); Nowhere II, Council+, Berlin, DE (2024); Techno, Museion, Bolzano, IT (2021); Blind Date, Kunsthalle Basel, Basel, CH (2019); and Its Urgent, Curated by Hans Ulrich Obrist, Luma Westbau, Zürich, CH (2019).
Vorisek has been awarded the 13th Manor Art Prize of the Canton of Zurich (2023) and the Prix Mobiliére (2023).
Vorisek recently opened his first public sculpture, Freiläufer (Drifter), Windmill, RAL 2004, 2024, at the former Gü- terbahnhof on Hohlstrasse in Zürich, commissioned by Canton Zürich. He will present his second solo exhibition at Arcadia Missa in 2026.