Art Basel Basel 2026: Leander Herzog and Andreas Gysin
Forthcoming event
Overview
Andreas Gysin, Meltdown, 2026. Courtesy of Nguyen Wahed and the artist.
Messe Basel, Messeplatz 10
4058 Basel, Switzerland
VIP Days (by invitation only): June 16-17, 11am to 8pm
Public Days: June 18-21, 11am to 7pm
Nguyen Wahed Gallery is pleased to present two works by Swiss generative artists exploring the code, materiality, and participation in digital art. Leander Herzog's Infinite Garden (2025-26) and Andreas Gysin's Meltdown (2023–26) are both being shown for the first time in Switzerland for the occasion of the fair.
Infinite Garden (2025-26) by Leander Herzog is a standalone installation that transforms digital materiality through an ever-shifting botanical ecosystem on blockchain where no single moment repeats. Every collector becomes a gardener: assembling, merging, and sharing generative flowers through blockchain protocol, acquiring not static images but living digital flora in perpetual flux.
Meltdown (2023–26) by Andreas Gysin departs from a deceptively simple premise: programming languages, though invisible in daily life, carry an inherent rhythm and graphic quality. In this work, code becomes both subject and instrument: the same source text that drives the transformation is itself the material being transformed. As abstract patterns shift and reconfigure on screen, the structural "groove" of the language becomes felt rather than read. Where much contemporary algorithmic art obscures its inner workings, Gysin's practice does the opposite: the mechanics are fully exposed, the wonder arriving not from opacity but from radical transparency, something minimal, yet alive.
4058 Basel, Switzerland
VIP Days (by invitation only): June 16-17, 11am to 8pm
Public Days: June 18-21, 11am to 7pm
Nguyen Wahed Gallery is pleased to present two works by Swiss generative artists exploring the code, materiality, and participation in digital art. Leander Herzog's Infinite Garden (2025-26) and Andreas Gysin's Meltdown (2023–26) are both being shown for the first time in Switzerland for the occasion of the fair.
Infinite Garden (2025-26) by Leander Herzog is a standalone installation that transforms digital materiality through an ever-shifting botanical ecosystem on blockchain where no single moment repeats. Every collector becomes a gardener: assembling, merging, and sharing generative flowers through blockchain protocol, acquiring not static images but living digital flora in perpetual flux.
Meltdown (2023–26) by Andreas Gysin departs from a deceptively simple premise: programming languages, though invisible in daily life, carry an inherent rhythm and graphic quality. In this work, code becomes both subject and instrument: the same source text that drives the transformation is itself the material being transformed. As abstract patterns shift and reconfigure on screen, the structural "groove" of the language becomes felt rather than read. Where much contemporary algorithmic art obscures its inner workings, Gysin's practice does the opposite: the mechanics are fully exposed, the wonder arriving not from opacity but from radical transparency, something minimal, yet alive.
