White Cube assembles its roster at Shanghai’s West Bund

White Cube returns to West Bund Art & Design in November with a carefully assembled presentation across its booth that reads as a portrait of the gallery’s aesthetic reach. Damien Hirst’s butterflies animate the magenta expanse of Blood Life (2019), a work preceding his major retrospective at Museum of Art Pudong this December. The piece carries the luminous intensity that has come to define Hirst’s more recent practice: creatures rendered with an almost jewelled precision, their wingspan and colour a counterpoint to the rich ground beneath.

Louise Giovanelli’s Prope (2025) demonstrates the gallery’s commitment to emerging painterly voices. Swirling in cerulean, coral and ochre, the canvas builds its abstract language through gestural intensity, each stroke meeting the next in a choreography of colour that suggests movement without describing it. Giovanelli opens her exhibition of new works at White Cube’s Mason’s Yard space in London on 20 November, and this work marks the trajectory already in motion.

The presentation extends further into White Cube’s established roster. Shigeo Otake’s The Cat Stealer (2026) represents his recent inclusion within the gallery’s representation; Georg Baselitz’s Das zweite mal Großgold (2025) arrives in tandem with the late artist’s retrospective at Seoul’s Sehwa Foundation Museum, where it remains on view until December. Yoko Matsumoto contributes Concept of Space (2013), a work from an artist whose travelling exhibition opens at The Museum of Modern Art, Kamakura & Hayama in late November. Park Seo bo, Tunji Adeniyi Jones and Danh Vo complete a roster that maps the gallery’s international reach and its sustained dialogue with both established and emerging practices across painting, sculpture and works on paper.

The fair runs at West Bund Art Center in Shanghai’s Xuhui District from 10 to 15 November, running concurrent with Shanghai Art Week.

Imagery courtesy of White Cube (@whitecube).