THE ART NEWSPAPER|FRIEZE ART FAIR|5 OCTOBER 2018
Mega-galleries bank on
Chinese art at Frieze
Trend follows
dealers’ move into
Eastern market
W
hite Cube, the
London-based
gallery histori-
cally associated
with the YBAs,
has given over its entire stand at
Frieze London to a striking display
by the Chinese artist Liu Wei.
Where once hung spin paintings by
Damien Hirst now stands a cage-like
construction built by Liu to house
his new paintings and sculptures.
The majority of the works, priced
between £90,000 and £450,000, sold
on the opening day.
After a decade of Western
dealers exporting art to newly
wealthy Asian collectors, it seems
that this one-way flow is starting to
reverse. As with many big interna-
tional galleries that have recently
expanded into Asia, White Cube
has promoted its largely Western
Tate’s watercolour is upgraded to a Gauguin
THE TATE NOW owns a watercolour by
Gauguin, thanks to the upgrading of a
work previously thought to be from the
artist’s circle. Following research for the
Van Gogh Museum’s exhibition Gauguin
and Laval in Martinique (which opens
in Amsterdam today), the double-sided
work on paper will be displayed as a
piece by Gauguin.
Presented alongside dozens of
other pages from Gauguin’s 1887
Martinique sketchbooks—in what is
the first detailed examination of the
Caribbean output of the two artists—the
new attribution is likely to be accepted
by curators at the Tate.
One side of the paper is a water-
colour showing a tree trunk, possibly
THEA RT NEWSPAPER .COM
White Cube has dedicated
its Frieze London stand to
the Chinese artist Liu Wei
stable of artists there since opening
in Hong Kong in 2012.
White Cube’s stand also reflects
what dealers describe as a resur-
gence in the popularity of Chinese
contemporary art among Western
collectors after a boom ten years ago.
“Our focus is to introduce Liu Wei to
the West,” says Georgie Wimbush,
the gallery’s associate director,
a preparatory work for a detail in a
Martinique oil painting that was never
completed. The other side is a pencil
sketch of a man’s head. The Tate’s
website suggests that it might depict
Gauguin himself, but it does not
appear to show his facial features,
and the Amsterdam exhibition
describes it as portraying his artist
friend Charles Laval.
The double-sided work was
bequeathed to the Tate by the Earl of
Sandwich in 1962. He had bought it in
1931, from the collection of Paco Durrio,
a Spanish sculptor who was a friend of
Gauguin and received many of his works.
Despite this excellent provenance,
the Tate downgraded it soon after the
/ DOWN LOA D T HE F RE E DAI LY APP
noting that French and US collectors
are showing serious interest. White
Cube Bermondsey is due to host a
solo show by Liu in April 2019, with
more planned for the US.
Adam Sheffer, the vice-president
of Pace Gallery, which is celebrating
ten years since it opened a space in
Beijing’s 798 art district, says that
Chinese art has gone from “being a
acquisition and its website still describes
it as Circle of Gauguin. “We welcome
this exciting research and we will be
reconsidering the attribution of the work
/ @ T HE ART N EW SPAPE R /
ISSUE 3|FREE EVERY DAY
MASTHEAD
BY
CHIHARU
SHIOTA
phenomenon that people specu-
lated on to being a reality”.
At Frieze, Pace is showing
works by two Chinese artists (16%
of its roster comes from China):
two porcelain wall sculptures
by Yin Xiuzhen, which sold The Japanese artist Chiharu Shiota
for $86,000 and $68,000, and a new weaves webs around the art world; her
mirror installation by Song Dong, installation featuring keys tangled up
which fetched $65,000. Pace will
in red thread was one of the standout
present an all-Chinese stand at Fiac,
in Paris, in two weeks’ time. pieces at the Venice Biennale in 2015.
At Lisson Gallery, a 2018 Now Shiota is working her magic on
portrait by Liu Xiaodong of a The Art Newspaper, before a major
transgender woman, titled Sasha
in skin coloured tights (priced at
show of her work opens at Blain
$350,000), is stopping fair-goers in Southern in London on 28 November.
their tracks. Although the artist is
an established name in China, his
market is relatively underdevel-
oped in the West, although his first
ever retrospective, at two venues
INSIDE
in Düsseldorf this summer, drew
interest from local collectors. GENERATION GAME
Younger Chinese artists are Can contemporary art galleries outlive their
MASTHEAD: © CHIHARU SHIOTA; COURTESY OF BLAIN SOUTHERN. LIU WEI: © DAVID OWENS/THE ART NEWSPAPER. GAUGUIN: © THE TATE. ZWIRNER FAMILY: JOE SCHILDHORN/BFA.COM
also garnering attention this week. founders and keep their edge? PP7-8
The Hong Kong-born artist Wong
Ping was awarded the inaugural
Camden Arts Centre Emerging
CONTINUED ON PAGE 2 
COMMENT
Artists continue to address the refugee
crisis—and it is beginning to pay off P4
IN PICTURES
Paul Gauguin’s Study of a US conceptual artist Adam Pendleton picks
Tree (1887)—and, on the his top works at Frieze Masters PP14-15
reverse, Study of a Man
accordingly,” a spokesman says.
INTERVIEW
Hannah Perry explores mental health in her
Martin Bailey
• For more, read Bailey’s Van Gogh new show at Somerset House PP16-17
blog at theartnewspaper.com
@ THE ARTNE WSPAPE R . OFFICIAL
ARP FONTANA FRIEZE MASTERS
BOETTI RUSCHA BOOTH H1
BURRI SCHIFANO
CÉSAR WARHOL
CALDER WEST
 2 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018

In brief
NEWS
Pick of the fairs

Guido Reni,

Five works that Saint Jerome (around 1605-10)

Galerie Canesso, Frieze Masters
If you had been in the desert for four years

will make you cry tormented by hallucinations (sometimes

known as the Burning Man festival),

BORREMANS: © MICHAËL BORREMANS; COURTESY OF THE ARTIST AND DAVID ZWIRNER. MENDIETA: © THE ESTATE OF ANA MENDIETA COLLECTION; COURTESY OF GALERIE LELONG. RENI: COURTESY OF GALERIE CANESSO, PARIS. ORATORY: COURTESY OF AR-PAB, ALVARO ROQUETTE & PEDRO AGUIAR-BRANCO. NAUMAN: COURTESY OF DAVID ZWIRNER. SAYE: © CHRISTIE’S IMAGES
perhaps you, too, would look skyward for
solace. This exquisite unsigned portrait is
An art fair, with its cool networking, business deals, air kisses and forced smiles, is no attributed to the Italian Baroque painter Auction debut for
place for emotion. But in the spirit of the Cuban artist Tania Bruguera’s Turbine Hall Guido Reni and was rediscovered nearly four
commission (until 24 February), which includes a crying room to provoke “forced centuries after it was painted. It surfaced at
Grenfell victim
empathy”, we picked five works sure to trigger your tear ducts. José da Silva auction in 2005 but did not sell. But do not
despair: you can pick up the work at Galerie TODAY, CHRISTIE’S WILL offer the
Canesso’s stand at Frieze Masters for an first two works to appear at auction
Michaël eye-watering £1.1m. by Khadija Saye, the young artist
Borremans, who died in the Grenfell Tower fire
Fire from the Sun in west London last year. Profits will
(Two Figures, One Portable oratory (early 17th century) go towards setting up the Khadija
Hand) (2017) AR-PAB, Alvaro Roquette & Pedro Saye IntoArts Programme, an arts
David Zwirner, Aguiar-Branco, Frieze Masters education scheme that will launch in
Frieze London There is crying galore in this lamentation of early 2019, run by IntoUniversity, a UK
This painting by the Christ, with the tears of three female figures charity that provides learning centres
Belgian artist Michaël mirroring the blood of the dead Jesus. The for young people from disadvantaged
Borremans will make 17th-century work was made in southern backgrounds and which nurtured Saye’s
you want to curl up in China for the European market, most likely interest in photography.
a ball and weep. The a Portuguese or Spanish buyer, according to Nak Bejjen (2017), a wet collodion
work shows a naked a spokesman for the gallery. The Christian tintype, is one of six works shown in the
toddler, missing an subject matter in oil is juxtaposed with beau- Diaspora Pavilion at the Venice Biennale
arm and covered in tiful lacquered and gilded doors decorated in last year; the remaining three from
what looks like blood. “When you are looking at the subject matter depicted in the painting, a Chinese style; the flora and fauna around from the period are Japanese, so this is a rare the Dwelling series were destroyed in
you immediately look at the materiality of the painting: are you looking at blood, or are you the outside seem bizarrely detached from the Chinese example: made in China, but not as Grenfell. Consigned by the artist’s estate,
looking at paint?” says the gallery’s senior partner, Hanna Schouwink. It is difficult to concen- inside. Most surviving Asian portable icons we know it. It could be yours for €147,500. it is estimated at £10,000 to £15,000.
trate on the weight of the artist’s brushstrokes when such a scene is staring you in the face. The second lot, estimated at £7,000
to £10,000, is a portfolio box of nine
Bruce Nauman, silkscreen prints of the entire series. A.B.
Ana Mendieta, Double Poke in the Eye II (1985)
Silueta Sangrienta (1975) David Zwirner, Frieze Masters
Galerie Lelong, Frieze London If anything is going to make you cry, it’s a
Sotheby’s introduces
The Cuban-US artist died in 1985 in suspi- double poke in the eye. The US artist Bruce
cious circumstances when she fell from her Nauman is having his moment in the (neon?) a curvaceous M
34th-floor apartment in New York. Although sun with a major retrospective that was
Silueta Sangrienta (bloody silhouette) has staged at the Schaulager during this year’s JUST TO KEEP us on our toes, yet
nothing to do with her untimely death, it is Art Basel; the show will travel to New York’s another auction symbol has popped
impossible to forget it when watching the Museum of Modern Art later this month. up in printed catalogues for sales at
short film, as Mendieta lies in the mud and The gallery would not reveal the price of the Sotheby’s this week. Two works from
her silhouette is replaced by a red liquid. work. (That’s one in the eye for us.) the collection of David Teiger—John
Currin’s painting Minerva (2000) (est
£800,000-£1.2m, 5 October) and his
work on paper Friends (1998) (est
£25,000-£35,000, 6 October)—feature
have sold to collectors from London, to be paying off. “For the two shows we Renfrew, the co-founder of Art HK, what looks like a curvaceous M.
Mega-galleries Paris and Düsseldorf, among others. have opened, all sold works have been who is launching a new fair in Taipei The symbol indicates a work that
bank on Chinese Jennifer Caroline Ellis, an associate
director of the gallery, says that the
placed in Western collections and all
with new Fanzhi collectors,” says the
in January.
He acknowledges that there was a
is “subject to right of first refusal”: the
person who sold the work to Teiger
art at Frieze growing popularity of Chinese artists
is simply a result of a more globalised
gallery’s owner Iwan Wirth, who added
Zeng to his roster in March.
“period of intense interest” between
2006 and 2008, during the “heyday
can price-match any winning bid. The
provenance for both pieces states that
 CONTINUED FROM PAGE 1 art world, although she notes that few But is this simply history repeating auction market for Chinese contempo- the previous owner was Andrea Rosen
Asian galleries have opened in Europe. itself ? After all, ten years ago, the rary art, which was fairly uncritical”, but gallery, which closed last year (although
They are finding other ways to show market for contemporary Chinese a correction followed in 2010. Renfrew Rosen is still operating). She therefore
Arts Prize and will have a show at their artists abroad—for instance, by art grew exponentially, but that rise says the “institutional scene is develop- has the right of first refusal, so although
the London institution in the next 18 collaborating with European institu- was short-lived. Not so, says Magnus ing rapidly” in China, lending critical she would appear to bid at a higher
months. He is represented by Hong tions and non-profit organisations. and curatorial clout to a new generation increment, the selling price would be at
Kong- and Shanghai-based Edouard Outside Frieze, Hauser & Wirth, of artists coming up through the ranks. the previous (lower) level reached.
Malingue Gallery, which is participat- which opened in the H Queen’s Chinese art has Western galleries are also “doing The lower bid would be reflected
ing at Frieze for the first time. The
gallery is presenting the artist’s three-
tower in Hong Kong in March, is
promoting another Chinese superstar,
gone from “being due diligence and creating meaningful
relationships with artists”, he says.
in the works’ reported selling price,
Sotheby’s says, adding that the rights
part animated film Fables (2018) in
an immersive installation. Editions of
Zeng Fanzhi, with three exhibitions
spanning its galleries in London, Zürich
a phenomenon “Their engagement is no longer pri-
marily commercially driven.”
on Minerva have now been waived.
(The symbol has come off the auction
his works, priced upwards of $12,000, and Hong Kong. The strategy appears to a reality” Anny Shaw house’s online catalogue.) M.G.
4 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018
COMMENT
Ben
Luke
Artists’ battle
for refugees is
beginning to pay off
Banu Cennetoglu’s powerful
work The List appeared in
Liverpool in July as part of the
city’s biennial. The piece features the
names of refugees, asylum seekers and
migrants who have died “within or on
the borders of Europe since 1993”,
according to the anti-racism organisation
United for Intercultural Action. In
Liverpool, The List contains 34,361
names. The 280m-long hoardings have
twice been attacked in Liverpool, with
the posters containing the list ripped
down. Cennetoglu decided to leave the
work in tatters “as a manifestation and
reminder of this systematic violence
exercised against people”, although it
has now been reinstalled.
Billy Apple ®
The Artist Has to Live
Like Everybody Else
௅
Until 2 November 2018
THE
MAYOR
GALLERY
Like the Liverpool Biennial, this
year’s Manifesta in Palermo and the
most recent Documenta have reflected
how broadly artists are responding to
the refugee issue. And in London, coin-
ciding with the opening of Frieze, shows
by Tania Bruguera at Tate Modern and
Doris Salcedo at White Cube powerfully
address the scale of the problem, and
the political hostility and public compla-
cency it has prompted.
But making art on the subject is
a thorny process. Who can forget Ai
Weiwei’s photograph clumsily restaging
the shocking image of the body of the
Syrian toddler Alan Kurdi washed up on a
Turkish beach? The artist Jake Chapman
told me that Ai’s response was “fucking
21 Cork Street, First Floor
London W1S 3LZ
Tel: +44 (0)20 7734 3558
www.mayorgallery.com
obscene”. (Chapman has never made art
about refugees; instead, he bought a boat
for the charity Refugee Rescue, which
has since saved thousands of lives.) The
problem of artists responding to the crisis
prompted the organisation Refugees,
Survivors and Ex-Detainees (Rise) to write
a statement in 2015, with ten points that
artists should consider if they are to make
ethical and responsible interventions.
Some artists have documented the
authorities’ inadequate reactions to
the situation in southern Europe. While
making his film Incoming (2017), the
photographer and film-maker Richard
Mosse shot what he described as “a
scene from hell” from the Lesbos shore.
A boat carrying some 300 people
was shipwrecked several kilometres
out to sea, and yet the first boat on
the scene, operated by Frontex, the
European Border and Coast Guard
Agency, was, Mosse says, “designed
to monitor and surveil these refugee
routes, not to rescue people”. Later,
he says, a Frontex helicopter was
“swooping in and zooming above… and
actually harassing the people who were
drowning in the water”.
On the boat was a Syrian artist, Amel
el Zakout, who captured the horrific
Stand D11
Aluminium Reliefs 1965–68
The Art
Newspaper
PODCAST
in association with
“A Syrian artist
captured the
horrific scene on a
shipwrecked boat”
scene on film and survived. Together,
her footage and Mosse’s are being used
in an investigation of the incident by the
Forensic Architecture group, which has
been shortlisted for this year’s Turner
Prize. Forensic Architecture has form
in this field: its Forensic Oceanography FRIEZE SPECIAL
project produced a damning report in Melanie Gerlis on the big market
2012 on the so-called “left-to-die boat”, on trends at Frieze. Plus, artists Doris
which 63 people died of thirst and starva-
Salcedo and Ragnar Kjartansson on
tion in the Mediterranean in 2011, despite
contact with a military helicopter. Nato, their London shows and much more
the report concluded, failed to assist the
migrants and prevent the 63 deaths. Listen and subscribe
It is too early in the latest investiga-
tion to know what it will conclude. The A new episode debuts every Friday
collaboration proves that artists can at theartnewspaper.com/podcast
have real-world influence on the issue. and iTunes, SoundCloud, TuneIn
Of course, they must be ethical and
responsible in dealing with these fragile
PHOTO: © DAVID OWENS
communities, as Rise advises. But their theartnewspaper.com
voices are needed more than ever amid
the din of the cynical populists. ␣
8
THE
M AYOR
GA LLERY
New York – Chelsea Hong Kong London

Endless Enigma Oscar Murillo Kerry James Marshall

Eight Centuries of Fantastic Art the build-up of content History of Painting
12 September–27 October and information 2 October–10 November
19 September–3 November

Wolfgang Tillmans Gordon Matta-Clark

How likely is it that only I am Flavin, Judd, November/December
right in this matter? McCracken, Sandback
13 September–20 October 15 November–21 December

Diane Arbus
Untitled
2 November–15 December

Lisa Yuskavage
Babie Brood: Small Paintings
1985–2018
8 November–15 December

New York – Upper East Side

A Selection of
Works from
Galerie 1900-2000
12 September–27 October

Lisa Yuskavage
New Paintings
8 November–15 December

David Zwirner
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018
FEATURES
Galleries
Looking to the next
GENERATION
“  I
t’s easy to connect to a young
How can artist when you’re both in your
20s and share a language. It gets
LOGSDAILS: ROBERTO CHAMORRO; COURTESY OF LISSON GALLERY. ZWIRNER: COURTESY OF DAVID ZWIRNER
contemporary art harder when you’re in your 40s
and 50s. But the defining quality
galleries survive of a gallery is to be able to keep
connecting.” So summarises
David Zwirner, the son of a respected art dealer,
their founders and Rudolph Zwirner, and arguably the most suc-
cessful primary-market dealer of this generation,
keep their edge? who now has two of his own children among the
gallery’s international staff of around 200 people.
He is a rarity. A cursory look at the recent
By Melanie Gerlis history of art dealing shows that the gallery gene
does not normally survive beyond one genera-
tion—generally that golden period when founder
and artists are in their youthful prime. New
York’s dealing pioneers from the 1950s, such as
Sidney Janis and Leo Castelli, are just some of the
industry-revered galleries whose primary market
prowess essentially died with their founders.
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
19–22 SEPTEMBER 2019 CHICAGO | NAVY PIER
OPENING PREVIEW THURSDAY 19 SEPT
Presenting Sponsor
Has much changed since then? “It’s still very,
very difficult. Once upon a time, the idea of a con-
temporary gallery outliving its founder was really
not a possibility. That still holds true today,” says
Marc Glimcher, the president and chief executive
of Pace Gallery, who began there in 1985, follow-
ing in the footsteps of his father, Arne Glimcher.
Marc Glimcher acknowledges there have been
growing pains along the way, for him and for the
gallery, but says his 2005 Logical Conclusions exhi-
bition in New York—an ambitious group show,
which included several museum loans—marked
a real turning point. “It was my Grids,” Glimcher
says, referring to a landmark 1979 exhibition
organised by his father.
Glimcher’s gallery is now among a handful
that seem to be finding a formula for next gener-
ation success, while the future of others appears
far more fragile. Then there are the unknowns.
Market players speculate about the future
business plans at Marian Goodman, Gladstone
7
Left the Lisson Gallery founder
Left,
Nicholas Logsdail with his son Alex.
Above, a young David Zwirner
Gallery, Paula Cooper and, of course, the Gagosian
empire—all businesses led by founders now in
their 70s and 80s.
Certainly, the backdrop has changed. The top
end of the art market has become a major inter-
national industry, which Glimcher argues gives
its businesses more potential longevity. “The cult
of the personality has shifted, and galleries have
become institutions,” he says. “In a way, my father
foresaw that,” he adds, noting that Arne, who
founded Pace in 1960, did not name the gallery
after himself—‘Pace’ sounds like a neutral brand,
though it is in fact the anglicised Yiddish name
of his grandfather. “I don’t have founder’s pride,
I don’t need it all to be mine. It’s not about one
person, it’s about building a team,” Glimcher says.
Lisson, another gallery that seems poised for well
beyond its 50 years of operation, carries the name
of a place, not a person.
The art adviser Emily Tsingou notes a related
dynamic. “These days, if you want to be with
the big boys, you have to be in more than one
location,” she says. This gives would-be successors
a new opportunity to cut their teeth, away from
the watchful eye and potentially too-weighty repu-
tation of a gallery founder. Zwirner—who opened
a new gallery rather than taking on his father’s
business—says that, by opening in New York
instead of in Germany, where Rudolf Zwirner had
operated, he was better able to “spread his wings”.
The spirit continues. At the end of September,
Max Hetzler’s son, Max Edouard, opened the Berlin-
and Paris-based gallery’s London space, joining
forces with Sarah Horner, previously at Skarstedt
Gallery. Before that, at Lisson Gallery, Alex Logsdail,
the son of its founder Nicholas Logsdail, joined
the gallery officially in 2009 and took the British
business to New York in 2016, something that he
says was an important part of making his own way.
“It’s challenging. You don’t get instant respect and
validation—if anything, there is a higher level of
scepticism and charges of nepotism are guaran-
teed. You have to rise above it and do something
uniquely your own. If you try to replicate what has
already been done, you are guaranteed to fail,” Alex
Logsdail says. He adds: “The worst possible scenario
would be to say: ‘I have to check with my dad’.”
Some founders and more senior directors
are rather relieved to hand over the reins to a
younger generation willing to go to every art fair
 CONTINUED ON PAGE 8
 8 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018

FEATURES
Galleries
Left, the German gallerist Michael Werner in 1964.
Below, Paula Cooper talks to a visitor in her New
York gallery in 1971

 CONTINUED FROM PAGE 7

or to oversee a social media marketing campaign.

“We travel all over the world, all these fairs,
the system is bigger than we are,” says Gordon
VeneKlasen, a partner at Michael Werner gallery.
For his gallery, survival has meant making many
changes. VeneKlasen joined as a partner in 1990
and opened the German gallery’s space in New
York and, in 2012, in London.
The business operates only in a small way in
Berlin now (through Werner’s home rather than
a gallery) and some of its core post-war artists,
including Sigmar Polke, A.R. Penck and, most
recently, Per Kirkeby, have died—and there is no
guarantee that an artist’s estate will always stick
with its original gallery.
Finding “new blood” is important, VeneKlasen
says: “When we started working with Peter Doig,
he was a young artist; now he’s turning 60.” The
gallery is increasingly working with artists who
it does not officially represent to tap into new
audiences, such as Florian Krewer and Raphaela
Simon. They were both students of Doig in
Düsseldorf who have had recent shows in New
York’s Chinatown through Michael Werner’s
“We don’t have 20 than 21 years, and partner Adam Sheffer moved some advantages. Zwirner says that his children

collaboration with Tramps gallery. Other galleries
test the waters in a similar way—last month Alex
Logsdail opened a show by the Texas-born artist
Hugh Hayden at Lisson’s 10th Avenue space in
New York (Border States, until 27 October). The
gallery has since started representing Hayden,
whose work is on its Frieze stand this week.
Michael Werner is 79 but, VeneKlasen stresses,
“I’m hoping he has another 20 years in him.”
He acknowledges that the relentless pace of
running a gallery in the 21st-century can take its
toll, however. “We don’t have 20 directors and 50
artists; I sometimes wish we did,” VeneKlasen says.
In June, the New York dealers John Cheim
and Howard Read announced the closure of their
public facing gallery, Cheim & Read, after more
to Pace. At the time Read said “there is a global,
directors and 50 corporate gallery model [of] 60-plus artists… This
was never our interest or goal.”
artists. I sometimes Tsingou thinks that ultimately, size does not
matter. “The galleries that survive are those who
wish that we did” recognise the importance of connoisseurship
and of having close relationships to museums,”
she says. But she acknowledges that this is
something of a luxurious position. “Of course,
museums can take three months to pay, so you
need to have structured your business accord-
ingly.” Certainly, any gallery that finds a way to
survive out there in a world where liquidity is
lumpy, bank loans are tricky and the value of
your stock is variable deserves to keep going.
And if it works, keeping it in the family also has
WERNER: CZECHATZ/ULLSTEIN BILD, GETTY IMAGES. COOPER: FRED W. MCDARRAH, GETTY IMAGES
grew up knowing artists such as Luc Tuymans and
Raymond Pettibon and that his senior staff, many
of whom have been working with him for more
than 20 years, also know his family well. However,
he is not committing to them taking the reins.
“I’m 53, I’ve hopefully got a few years to go, and art
dealers don’t seem to retire,” he says, though he
adds that the fact that his kids “love the business
and want to run it is incredibly exciting for me”.
Both Zwirner and his younger counterparts
stress the importance of not resting on any laurels.
Logsdail says: “Irrespective of taste, time or trends,
you have to keep building your programme; any
gallery wholly satisfied with its group of artists is
in decline or beginning a decline.” Zwirner con-
cludes: “Losing content is the kiss of death.”

MNUCHIN GALLERY

FRIEZE MASTERS | STAND C5

REGENT’S PARK, LONDON

OCTOBER 4 – 7, 2018

45 EAST 78 STREET
NEW YORK, NY 10075
WWW.MNUCHINGALLERY.COM
contact@mnuchingallery.com
Image (detail): Sam Gilliam, Ray IX, 1970
acrylic on canvas with beveled edge
49 1/4 x 108 1/4 inches
 M U LT I P L E O P P O R T U N I T I E S

4 1 , 0 0 0 S Q F T O F G R O U N D A N D L O W E R G R O U N D S PA C E B E I N G C R E AT E D F O R G A L L E R I E S .
P U R P O S E B U I LT, M O S T E N J O Y B E I N G C O L U M N F R E E W I T H 4 M C E I L I N G H E I G H T S . AVA I L A B L E N O W .

CORKSTREETGALLERIES.COM

DAVI D RO S EN / S I M O N RI N D ER JAMES ANDREWS / RICHARD FLOOD

AT P I L C H E R H E R S H M A N AT K L M R E TA I L
+44 (0)20 7399 8600 +44 (0)20 7317 3700
R. Lefèvre, Portrait de P. N. Guérin ; H. de Triqueti, Icare, Orléans, Musée des Beaux-Arts, © François Laugnie ; H. Hartung, Composition, © Galerie de la Présidence, Paris.

The Fair for Drawing,

Painting and Sculpture

7-11 November 2018

SINCE

50
YEARS
1969

___ÅVMIZ\[XIZQ[KWU

1VXIZ\VMZ[PQX
with:
 Lucio Fontana 1899-1968
Concetto spaziale, Attese
signed, titled and inscribed ‘l.fontana
“Concetto spaziale “ATTESE” 1 + 1 -
Mi piace Luisella!’ on the reverse
waterpaint on canvas
61 x 50 cm (24 x 195⁄8 in.)
Executed in 1963.
Estimate £700,000-900,000
© Lucio Fontana/SIAE/DACS, London 2018.

20th Century &

Contemporary Art
Evening & Day Sales
London, 4 & 5 October 2018
Day Sale 4 October 2018
Evening Sale 5 October 2018

Public viewing
28 September - 5 October 2018
at 30 Berkeley Square, London W1J 6EX

Enquiries
contemporaryartlondon@phillips.com
+44 20 7318 4050

phillips.com
 Vito Acconci
Charles Gaines
Lee Ufan
Sol LeWitt

System Subject
Agnes Martin
5RPDQ2SDÂND
Howardena Pindell
Richard Pousette-Dart
Robert Ryman
Agnes Martin, Untitled, 1995 © Agnes Martin / DACS 2018

Curated by Adam Pendleton :DFÂDZ6]SDNRZVNL

Also on View
Adam Pendleton
FRIEZE MASTERS Our Ideas
STAND C9 2 October – 9 November
6 Burlington Gardens

4 – 7 October, 2018
Regent’s Park LONDON
 12 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018

COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why

THE ART NEWSPAPER

Frieze Art Fair editions

EDITORIAL AND PRODUCTION

Christina Makris Editor (The Art Newspaper):

Alison Cole
Co-editors (fair papers):
Julia Michalska, Emily Sharpe
Deputy editor: Hannah McGivern
Production editor: Ria Hopkinson
Copy editors: Matt Barker, Tracey Beresford,
Andrew McIlwraith, Vivienne Riddoch,
Shanthi Sivanesan
Designers: Vici MacDonald, Bryan Mayes,
Anamaria Stanley
Photographer: David Owens
Picture editors: Katherine Hardy,
Aimee Dawson
Contributors: Georgina Adam, Anna Brady,
Louisa Buck, José da Silva, Aimee Dawson,
Melanie Gerlis, Gareth Harris, Pablo Helguera,
Ben Luke, Hannah McGivern, Julia Michalska,
Cristina Ruiz, Emily Sharpe, Anny Shaw
Design and production (commercial):
Daniela Hathaway

DIRECTORS AND PUBLISHING

Publisher: Inna Bazhenova
Chairman: Anna Somers Cocks
Chief executive: Julie Sherborn
Management accountant:
Evgenia Spellman
Accountant: Matha Murali
Associate publisher, fairs and events
media: Stephanie Ollivier
Head of subscriptions and membership:
James Greenwood
“I never regret my choices”, says Makris, who sees her art collection as a work in progress Head of sales (UK): Kath Boon
Head of sales (the Americas):

T
he collector Christina Makris works in the private wealth sector. Egyptian artist Chant Avedissian is Inn (2006), depicting a poetically Kathleen Cullen
In a previous life, however, she was an academic—she has a PhD saturated in sentimental and symbolic chaotic cityscape in Amman. It took Advertising sales director: Henrietta Bentall
in philosophy and a philosophical approach extends to her art value for me, far outweighing its four men to carry it up to my flat and Marketing manager (the Americas):
collection. “The joy of being a young collector is that your taste monetary value. hang it. I’ve wanted to move it for Steven Kaminski
is still being developed and the orientation of your collection years but I haven’t had four men in Administrator/book-keeper (the Americas):
is still to be determined,” Makris says. The collection includes If your house was on fire, which my flat since. Anthony Shao
the Latvian artist Ella Kruglyanskaya and the London-based, work would you save?  Digital development director:
Nigerian-born Abe Odedina, as well as works from the eastern Mediterranean Perish the thought, but I’d take Stelios What is the most surprising place Mikhail Mendelevich
region. In between being a trustee of Site Gallery in Sheffield and a patron of Faitakis’s New Wave (2016), which you have displayed a work?  System administrator: Lucien Ntumba
several London institutions, she is carving out time to write a book on the phi- features flames in its composition I am officially inviting everybody over Office co-ordinator and customer
support: Margaret Brown
losophy of taste in art and food. Here, Makris tells us about a World Cup-induced anyway and would remind me of the for drinks to see the mini-collection in
impulse buy, and invites us to an exhibition in her bathroom. sacrifices left behind. my guest bathroom. Just let me know
PUBLISHED BY U. ALLEMANDI
which dates work.  & CO. PUBLISHING LTD
If money was no object, what would
be your dream purchase?  Which artists, dead or alive, would UK OFFICE:
THE ART NEWSPAPER: How did you a charcoal portrait of me in exchange In the highly unlikely case that you invite to your dream dinner T: +44 (0)20 3416 9000
first get into collecting?  for a bottle of Nero d’Avola and Vienna’s Kunsthistorisches Museum party? E: londonoffice@theartnewspaper.com
CHRISTINA MAKRIS: I used to draw and homemade moussaka. was hard up for cash, I’d make a play Artemisia Gentileschi to carve the US OFFICE:
paint as a child and was encouraged to for Parmigianino’s Self-portrait in a meat, Gilbert & George to choose the T: +1 212 343 0727
visit museums and be around art. My What was your most recent Convex Mirror (1524). cheese, Francis Bacon to pick the wine, E: nyoffice@theartnewspaper.com
mother collected antique Byzantine art purchase? Marina Abramović to help with the Printed by Elle Media Group, Basildon
icons, so it was instilled in me that art I impulse-bought The Three Wise Men Which work in your collection washing up, and the young artist and © The Art Newspaper Ltd, 2018
objects are something otherworldly of Willesden Junction (2018) by Bill requires the most maintenance?  my friend Ameera Kawash to preside All rights reserved. No part of this newspaper may be reproduced
without written consent of the copyright proprietor. The Art
and special. Quite a few of my school Daggs during half-time in the Spain I have a huge photograph that as salonnière. Newspaper is not responsible for statements expressed in the
friends became artists, so I wanted to vs Iran game at the World Cup this I’m certain weighs more than an signed articles and interviews. While every care is taken by the
acquire a piece from each to feel close summer. I was at the OOF magazine elephant—Anna Malagrida’s Holiday Which purchase do you most publishers, the contents of advertisements are the responsibility
of the individual advertisers
to them; it then spread to other artists.  football and art event at the Bomb regret?
Factory [Art Foundation]. I like to think I never regret my choices, but I think
Subscribe online at
What was the first piece of art
you bought? 
it was an efficient use of half-time.  “[I would invite] if you do, you just have to buy more
pieces to dilute what you think you no theartnewspaper.com
It wasn’t purchased but bartered. A What is the most expensive work Artemisia Gentileschi longer like. A ratio of 5:1—five good, @theartnewspaper
@theartnewspaper
very talented university friend—who in your collection?  one odd—should do the trick. @theartnewspaper.official
has sadly given up making art—drew Abdel Halim Hafez (2012) by the to carve the meat” Interview by Aimee Dawson

SERVICES

Exhibition spaces
Art handling and storage
Viewing rooms
Offices and hot-desking
Grade II listed Club Room
Meeting rooms

We’re a membership organisation

building a thriving community for the
visual arts. Membership is open to
A first-of-its-kind office and UK and international galleries, art
dealers, advisers and professionals.
exhibition space for galleries
To apply, please visit:
and art professionals. www.cromwellplace.com
PUMPKIN, 2018. Painted Bronze. 145 x 150 x 150 cm, 59 1/8 x 57 1/8 x 57 1/8 in
Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © YAYOI KUSAMA

Ya yoi K us a m a
THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE
Victoria Miro | 16 Wharf Road · London N1 7RW | 3 October – 21 December 2018
 14 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018

IN PICTURES
Expert Eye

Adam Pendleton:
My pick of
Frieze Masters
The US conceptual artist Adam Pendleton is deeply interested
in systems and processes, themes he explores in his exhibition of
recent works at Pace Gallery (Our Ideas, until 9 November) and
on the gallery’s stand at Frieze Masters, which he organised. “All
artists curate their own shows,” Pendleton says, but this is the
first time he has “brought together the objects of other artists
in this way”. Inspired by the writing of the art critic Rosalind
Krauss, his Frieze Masters show includes pieces by conceptual
artists such as Sol LeWitt, Roman Opalka and Robert Ryman,
as well as lesser-known names such as Howardena Pindell. 1
“I think there are gaps
ps in the history
of conceptual art, andd there is room
for people like Howardena
rdena to occupy
more space in that narrative,”
arrative,”
ontinues
Pendleton says. He continues
to champion conceptual—and
tual—and
overlooked—artists in n his selection
of top works at Friezee Masters.
By Julia Michalska.
Photographs by
David Owens

1 Gerd and Hilla Becher
Framework Houses—
Gable Side (1970-73)
SPRÜTH MAGERS
“A long-time favourite. This work is very
much a system- or process-oriented work,
but it also works well on a formal level. I’ve
always been curious about how a work of
art can act as a document, and/or if there is
a documentary element to it. How does that
relate to the artistic process in general? I
also like long-term projects, where the artist
begins with an idea and continues it. There’s
an obsessive quality to them, almost like
you’re stuttering: to stumble and arrive at
something else through repetition.”
2 Albert Oehlen
Cows by the Water (1999)
NAHMAD CONTEMPORARY
“I like Oehlen’s commitment to painting
and his nonchalance about whether it’s
ugly or not. There’s this strange alchemy:
what compels us to look at something
beautiful or ugly?”
3 Robert Morris
Untitled (1976)
CASTELLI GALLERY
“Robert Morris is arguably one of the more
important Minimalists. In this context, the
work almost disappears; it’s not the first
thing you notice, but when you do, you
can’t unsee it. He uses felt as though it was
something very heavy, but light at the same
time—yet it has this imposing presence.
What a great piece.”
4 Ken Price
Untitled (Geometric cup) (1974)
FRANKLIN PARRASCH GALLERY
“I like his more familiar biomorphic shapes
as well, but I am particularly drawn to the
sharper lines and angles of this work. He’s
a great colourist. It’s nice to see how an
oddball piece can illuminate everything else
about an artist’s work.”
5 Anni Albers
DR XVII (1974)
DAVID ZWIRNER
It’s meticulous and loose at the same time.
I like when you can see how something was
made. Here, for example, the faint pencil
lines are visible. It looks as though she laid
out a grid across the page, then made a
series of decisions about what she would
fill in. I think she was always considered
the other Albers, but maybe now she is
becoming the Albers.”
6 Sam Gilliam
Ray IX (1970)
MNUCHIN GALLERY
“Sam Gilliam’s paintings, particularly those
from this period, are wonderful—hands-
3 4
down. His show at the Kunstmuseum in
Basel this summer [9 June-30 September]
was one of the best exhibitions of a painter
I have ever seen. I thought it was really
remarkable. And like Steven Parrino’s work,
there is a sculptural dimension to this piece.
The way his paintings are installed can trans-
form—they’re perpetually becoming. They’re
not a fixed experience, which a painting so
often is. It’s great that people are looking at
Gilliam’s work again and giving it the atten-
tion that it so rightfully deserves.”
7 Steven Parrino
China de Sade (1987)
ALMINE RECH GALLERY
“It’s nice to spend time with a painting that
does something different, one that disrupts
the plane. Parrino is such a great example of
an artist who did that. Like the Bechers, his
work is about exhausting a system or pro-
cedure, which you can do in different ways.
This work hovers somewhere between
painting and sculpture.”
“I like long-term
projects. There’s an
obsessive quality
to them, almost like
you’re stuttering: to
stumble and arrive
XXXXXXXXXX

“I’m drawn to artists’ drawings and this is a

particularly good example by Anni Albers. at something else” 6
XXXXXXXXXX

7
5
THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018
15

PENDLETON: MATTHEW SEPTIMUS; © ADAM PENDLETON. ALL WORKS: © DAVID OWENS/THE ART NEWSPAPER
16 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018

INTERVIEW
Artists

Hannah Perry:
Paying tribute to
an absent friend
The UK artist’s solo show at Somerset House remembers
a collaborator after his suicide, and also explores how we
process grief and trauma. By José da Silva

C
Perry is a resident ar engines rev, orchestral strings
artist at Somerset hum and a voice asks: “Could
House Studios I have said one small thing to
make you happy?” Exploring
mental health and experiences
of memory, trauma and loss,
the UK artist Hannah Perry’s
immersive 360-degree film installation Gush (2018)
at Somerset House is part of her solo exhibition of
the same name. The themes strike a personal note
for the artist whose best friend and artistic collabo-
rator Pete Morrow took his own life in 2016.
Morrow is remembered in the striking film
evoked in a series of hydraulic sculptures that
dance around each other, occasionally crashing
together, slowly destroying their pristine finish.
Perry is an artist-in-residence at Somerset House.
THE ART NEWSPAPER: Can you explain how your
film Gush addresses the recent suicide of your
friend and artistic collaborator Pete Morrow?
HANNAH PERRY: Pete Morrow and I met at
Goldsmiths, University of London, where he was
studying English literature and music, and I was
studying art. We became very good friends both
personally and creatively. We first collaborated

PERRY: © THIERRY BAL

through his writing, which partly inspired the formally when we performed together as part of
script for the soundtrack made in collaboration LuckyPDF TV for Frieze Projects in 2011, which
with the musicians Mica Levi and Coby Sey. How was organised by [now Goldsmiths CCA director]
trauma and shock can gradually damage us is Sarah McCrory. Pete and I worked together many

Paris Asian
Art Fair
17–21 October 2018
24P STUDIO
9 avenue Hoche, 8e
Teppei Kaneuji, White Discharge (Built-up Objects)#37, 2014 © courtesy Jane Lombard Gallery

313 Art Project

A2Z Art Gallery
A3
AMY LI GALLERY
Art’Loft/Lee-Bauwens Gallery
Art Seasons
Artvera’s Gallery
Beijing Commune
Chi-Wen Gallery
CHOI&LAGER Gallery
The Columns Gallery
C-Space+Local
COHJU Contemporary Art
The Container
Galerie DA-END
DANYSZ gallery
The Drawing Room
Fabien Fryns Fine Art
Finale Art File
Ginkgo Space
HdM Gallery
La Patinoire Royale – Galerie Valérie Bach
Leo Gallery
ValerioADAMI
MadeIn Gallery
FRIEZE MASTERS Galerie Maria Lund
BOOTH G14 MORI YU GALLERY
REGENT’S PARK, LONDON New Galerie
Galerie Paris-Beijing
Pierre-Yves Caër Gallery
#asianow

October 04 – 07, 2018 Primo Marella Gallery & Primae Noctis Gallery
S.O.C. Satoko Oe Contemporary
Gallery SoSo
Gallery SU:
Talion Gallery

Tel. +39 02 294 0 43 73 Tang Contemporary Art asianowparis.com

TOKYOITE
Fax +39 02 294 0 55 73 Tong Gallery+Projects
Via Tadino 20 Vanguard Gallery
I-20124 Milano Vinyl on Vinyl
Yeo Workshop
INFO@GioMARCONI.COM Zeto Art
WWW.GioMARCONI.COM

Valerio Adami, Untitled, 1964, pencil, watercolor and tempera on paper, 52,5 × 69 cm – © Valerio Adami by SIAE 2018
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018 17

Hannah Perry’s
Rage Fluids (2018,
far left) and Love
Bomb (2018) are on
show this week

times on sound works and live performances. But clearly visible or accessible to young people. A lot of your work incorporates car modifica- first person both within the written prose and
really, we were just great friends. All our vulnerabilities are deep rooted in this tion parts and techniques. Did this interest point of view to more cinematic angles.
This body of work discusses loss and trauma. childlike space. We ran workshops and looked come before you started making works of art? In one section of the film you are in the middle
There are many reasons why we might feel a at how young people understand mental illness, I’m drawn to the aesthetics around car culture of colliding bodies. I used a custom 360-degree
sense of loss or despair. In my case, it was a loss grief and trauma, how they negotiate it and for many reasons. It comes from a fascination camera rig inside a clear pole-dancing pole [to film
of a best friend to suicide. I wasn’t prepared for make sense of the world. We looked at internet for mapping the ethos of masculinity. I always the female and male] dancers’ hair, crotches and
the trauma or the horror of it all. [It was] violently memes, dark humour and irony, and mapped out wanted to explore how cultural constructions of limbs swinging around. Other times in the film,
shocking in its extreme. coping mechanisms. Normal was a word banned masculinity emphasise masculine powers and you are in the street. The camera’s elliptical aes-
The work is a way of understanding and from the room. excludes women. Recently, I have been exploring thetic reinforces the immersion. This camera also
looking at what happened in some sort of context, new directions with the aesthetics, looking at allows me to create an immersive experience that
and in a lot of ways it also feels like a way of col- Tell us about your collaboration with the car crashes from a metaphorical point of view: hovers between video and performance. For parts
laborating with him again. The show looks more musicians Mica Levi and Coby Sey. suspension, shock absorbers, collision, rupture of the video, I created a special rig that would blur
broadly at mental health, which needs to be nor- The first session was with Mica and the London and traumatised metal. For this exhibition, I am and alter the image, and filmed a choreographed
malised, and how this is often gendered. I wanted Contemporary Orchestra. We set the tone and developing new hydraulics sculptures, coming performance around it. I was also interested in
INSTALLATION SHOTS: © HANNAH PERRY AND TIM BOWDITCH, 2018

to make this work because it was important to me Mica would start to play and the orchestral
and personally meaningful. I am just sad he isn’t players would follow. The second series was
around to see it. with Coby, where we continued to develop the
musical arrangement. It was more like jamming
How was your work influenced by the sessions than formal scoring. An important
workshops you did with young people from part of the process was when I would read notes
London South East College, Greenwich? from Pete’s poems and the musicians would
I love working with young people, they are respond intuitively. It became an organic process,
somehow more blunt and honest. In a way, a lot of it was informed by our discussions,
a lot of my work is grounded in the physical but some elements were happy accidents and
experience of emotion and somehow it is more unfolded naturally.
from this idea of crashing and colliding, somehow
translating movement or dance to metal forms.
How did the idea for the show’s immersive
film, created using a custom-made 360-degree
camera, come about?
I was interested in the way the 360-degree camera
offers the possibility of embodying different
subject positions. The soundtrack for the film is
sometimes narrated in the first person, but mainly
in the third. The perspective also changes from
Suspension
distorting perception and using the 360-degree
technology in a different way. It is usually used for
high-resolution film and I wanted to explore how
it could be transformed.
Has London changed for young artists since
you graduated from art school?
It was hard then, it’s even harder now.
• Hannah Perry: Gush, Somerset House, until 4
November; a performance created especially for the
exhibition will take place at 7.30pm on 5 October

A History of Abstract Hanging Sculpture

1918—2018
Curator : Matthieu Poirier
AFTER THE TRIBES
BEVERLY BARKAT A century of abstract hanging sculpture, through more
than 50 works, produced by 33 artists of 15 different
nationalities, across two exhibitions.
MUSEO BONCOMPAGNI LUDOVISI
11 OCTOBER TO 31 DECEMBER 2018
Olivier Malingue Palais d’Iéna
Via Boncompagni 18, Rome
9.30 to 19.00, closed on Mondays, free admission London Paris
1 Oct—15 Dec 2018 16—28 Oct 2018
143 New Bond Street, First floor 9, place d’Iéna
AMBASCIATA D’ISRAELE
IN ITALIA
London W1S 2TP 75016 Paris
CELEBRANDO L'INNOVAZIONE
Ufficio culturale Ambasciata di Israele - Roma
JOAN MIRÓ
Figure, 1934
Estimate $7,000,000–10,000,000

Impressionist & Modern Art Evening Sale

AUCTION NEW YORK 12 NOVEMBER

EXHIBITION FREE AND OPEN TO THE PUBLIC 2–12 NOVEMBER

1334 YORK AVENUE, NEW YORK, NY 10021

ENQUIRIES +1 212 606 7360 IMPRESSIONIST@SOTHEBYS.COM
SOTHEBYS.COM/MODERN #SOTHEBYSIMPMOD
© 2018 SUCCESSIÓ MIRÓ / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS
DOWNLOAD SOTHEBY’S APP
SOTHEBY’S, INC. LICENSE NO. 1216058. © SOTHEBY’S, INC. 2018 FOLLOW US @SOTHEBYS
 CALIBER RM 07-01
© Didier Gourdon

www.richardmille.com
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018 21

CALENDAR
Frieze week
○ Frieze talks
FRIDAY 5 OCTOBER
12PM Doris Salcedo, Rachel
Thomas and Tim Marlow
Frieze Masters Auditorium
3PM Gods and Monsters panel: Ann
Demeester, Anne Pasternak and Deborah
Swallow, chaired by Jennifer Higgie
Frieze Masters Auditorium
12.30PM Keynote: Alexander Chee
Frieze London Auditorium
4.30PM Laurie Anderson and Lydia Yee
Frieze London Auditorium
SATURDAY 6 OCTOBER
12PM Lisa Reihana
Frieze Masters Auditorium
3PM Amy Sillman and Lynne Cooke
Frieze Masters Auditorium
12.30PM Kemang Wa Lehulere
Frieze London
4.30PM Nan Goldin with Linda Yablonsky
Frieze London Auditorium
SUNDAY 7 OCTOBER
12.30PM Auto/Biography panel with
writers Olivia Laing and Diana Simpson
Frieze London Auditorium

○ Auctions
FRIDAY 5 OCTOBER
SOTHEBY’S
6.30PM The History of Now: David Teiger
34-35 New Bond Street, W1A 2AA
CHRISTIE’S
1PM Post-war/contemporary art day sale
8 King Street, SW1Y 6QT
PHILLIPS
5PM 20th-century/contemporary
art evening sale
30 Berkeley Square, W1J 6EN
SOTHEBY’S
7PM Contemporary art evening sale
From the Bowery to the Strand
34-35 New Bond Street, W1A 2AA
shows fill the building. Joseph’s film Pipilotti Rist’s 4th Floor to
SATURDAY 6 OCTOBER London show celebrates a decade of video is joined by works by some of today’s Madness, New York (2016)
SOTHEBY’S installations at New York’s New Museum most cutting-edge artists, including
11AM Contemporary art day sale the British artist Ed Atkins, the US they stop breathing—seemingly an
34-35 New Bond Street, W1A 2AA artist Wu Tsang and the French artist account of a bizarre ritual that is in
Strange Days: The exhibition is “constructed Camille Henrot to name a few. fact fictional.
Memories of the Future around some of the atmosphere Henrot’s masterpiece Grosse “Other [artists in the show] are
The Store X, London that Joseph evoked [in Fly Paper],” Fatigue (2013), which first made a maybe more interested in a new
UNTIL 9 DECEMBER Gioni says of the video installation splash at the Venice Biennale five type of [film-making]: Neon-realism,”
coproduced with the Vinyl Factory years ago, was also organised by Gioni explains, referring to the
(who invited the New Museum). Gioni. “It’s a kind of talismanic distinctive aesthetic present in
New York’s New Museum has “The work is a kind of diary piece piece”, he jokes. Although this will many of the works by artists such
big shoes to fill. Or, more that talks about his own father, not be the first time that Henrot’s as the Berlin-based Oliver Laric, Wu
precisely, a big building to fill, as it his memories [and is] inspired by work is shown in the capital, other Tsang and US artist Ryan Trecartin.
stages a show in the cavernous Chris Marker in the sense of that works in the show are having their “Another term I use, borrowed from
former office building at 180 the first-person narrative, which is both London debuts, including Jonathas the literary critic James Wood, is
Strand, where, two years ago, the confessional and fictional,” he says. de Andrade’s O peixe [the fish] (2016), hysterical realism,” he says.
Hayward Gallery held its popular “And it became a thread that weaves Pipilotti Rist’s 4th Floor To Mildness What many of the works on
video-art exhibition Infinite Mix. in and out of the exhibition.” (2016) and Joseph’s Fly Paper (2017). display “have in common is a sense
One of the most striking works Video installations by 21 artists “More broadly, the show is about of visionary images. Either because
in that show was Kahlil Joseph’s film spanning ten years of New Museum the combination of the personal they feel like dreams and memories
installation m.A.A.d. (2014), which and the documentary,” Gioni says. or because they feel like premo-
RIST: COURTESY OF 180 THE STRAND. FISCHL: DALIM

Eric Fischl’s Women in Water (1979,
detail; est £200,000-£300,000) goes
under the hammer at Christie’s today
was soundtracked by the hip hop star
Kendrick Lamar. For Massimiliano
Gioni, the New Museum’s artistic
“The show is about
director and the curator of Strange
Days: Memories of the Future, it was
precisely this artist that proved to
be a catalyst for this new show.
“Some works have more to do with
sentimental documentary or lyrical
reportage, like [the works by] John
the combination of Akomfrah and Jonathas de Andrade.”
In Andrade’s O peixe, fishermen in
the personal and a coastal village in Brazil hold large
the documentary” fish they caught to their chests until
nitions of the future,” Gioni says.
“While it’s a history of ten years of
video works, it’s also about artists
trying to see the future, or what has
happened to moving images over
the past ten years.”
José da Silva
 22 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018

CALENDAR
Frieze week
UNTIL 4 MARCH 2019 WRonchini Gallery
• Cornelia Parker: Transitional • Rebecca Ward: Silhouettes
Object (PsychoBarn) UNTIL 15 NOVEMBER
• Listings are arranged ONGOING WSadie Coles HQ, Davies Street
alphabetically by area Royal Institute of • Paul Anthony Harford
British Architects UNTIL 10 NOVEMBER
(central, north, east, • Disappear Here WSadie Coles HQ, Kingly Street
south and west) UNTIL 24 NOVEMBER • Martine Syms: Grand Calme
Sir John Soane’s Museum UNTIL 20 OCTOBER
• Commercial galleries • Purely Ornamental WSimon Lee Gallery
UNTIL 14 OCTOBER • Gary Simmons: Green Past Gold
are marked with W • Out of Character UNTIL 20 OCTOBER
UNTIL 18 NOVEMBER WSkarstedt Gallery
Somerset House • Sue Williams: New Paintings
• Hannah Perry: Gush UNTIL 24 NOVEMBER
○ Central London UNTIL 4 NOVEMBER WSprovieri
• Athi-Patra Ruga: of Gods, • Pedro Cabrita Reis, Jimmie
Barbican Rainbows and Ommissions Durham, Cildo Meireles
• The Hull of a Large Ship UNTIL 6 JANUARY 2019 UNTIL 23 NOVEMBER
UNTIL 11 NOVEMBER Store Studios WSprüth Magers
• Francis Upritchard: Wetwang Slack • Strange Days: Memories of the Future • Lucy Dodd: Miss Mars
UNTIL 6 JANUARY 2019 UNTIL 9 DECEMBER UNTIL 17 NOVEMBER
British Museum Tate Britain WStephen Friedman Gallery
• I Object: Ian Hislop’s Search for Dissent • Anthea Hamilton: The Squash • Tom Friedman: Always the Beginning
UNTIL 20 JANUARY 2019 UNTIL 8 OCTOBER UNTIL 3 NOVEMBER
Delfina Foundation • Turner Prize WStuart Shave/Modern
• Noor Afshan Mirza and UNTIL 6 JANUARY 2019 Art, Helmet Row
Brad Butler: The Scar • Jesse Darling: The Ballad • Forrest Bess
UNTIL 1 DECEMBER of Saint Jerome UNTIL 1 DECEMBER
Foundling Museum UNTIL 24 FEBRUARY 2019 WThe Fitzrovia Chapel
• Lily Cole: Balls The Photographers’ Gallery •Yinka Shonibare MBE
UNTIL 2 DECEMBER • Alex Prager: Silver Lake Drive UNTIL 6 OCTOBER
• Kitty Clive UNTIL 14 OCTOBER WThe Gallery of Everything
UNTIL 30 DECEMBER • Tish Murtha: Works 1976-1991 • Art + Revolution in Haiti
• Ladies of Quality & Distinction UNTIL 14 OCTOBER Men Use Condoms or Beat it (1988), one of the posters produced by Gran Fury during the Aids crisis UNTIL 11 NOVEMBER
UNTIL 20 JANUARY 2019 The Queen’s Gallery WThe Mayor Gallery
• First Among Equals
UNTIL 13 JANUARY 2019
• Splendours of the Subcontinent
UNTIL 14 OCTOBER Activist art show goes back to the 1980s • Billy Apple:
UNTIL 2 NOVEMBER
Institute of Contemporary Arts Wellcome Collection WThe Vinyl Factory Space
• Metahaven: Version History • Living with Buildings Gran Fury: Read My Lips policy. The collective’s survey comprises works • Bookmarks: Revisiting the Hungarian
UNTIL 13 JANUARY 2019 UNTIL 3 MARCH 2019 Auto Italia produced between 1987 and 1995, such as their Art of the 1960s and 1970s
• Queens Row: Richard Maxwell WAlan Cristea Gallery UNTIL 2 DECEMBER installation The Pope and the Penis (1990). “The UNTIL 14 OCTOBER
UNTIL 13 OCTOBER • Anni Albers: Connections— The New York-based art collective Gran exhibition will bring to light the critical, funny WThomas Dane Gallery
Korean Cultural Centre UK Prints 1963-84 Fury is finally making its debut in the UK and scathing voice of Gran Fury, explored • Michael Landy: Scaled-Down
• Yunchul Kim: Dawns, Mine, Crystal UNTIL 10 NOVEMBER with this project at Auto Italia in east London. through works including billboard campaigns, UNTIL 17 NOVEMBER
UNTIL 3 NOVEMBER WAlison Jacques Gallery The Aids-activist trailblazers produce searing public interventions and guerilla-tactic protests WTimothy Taylor
Museum of London • Hannah Wilke works that channel outrage through art, originally staged in New York,” the organisers • Kiki Smith: Woodland
• Night Visions UNTIL 21 DECEMBER attacking conservative media and the Catholic say. Millennials should head to the east London UNTIL 27 OCTOBER
UNTIL 11 NOVEMBER WAlmine Rech Gallery church for impeding progress in public-health venue to see how protesting is really done. G.H. WTornabuoni Art
National Gallery • A New Spirit Then, a New • Afro: Gesture, Line and Colour, the
• Thomas Cole: Eden to Empire Spirit Now, 1981-2018 Making of an Abstract Expressionist
UNTIL 7 OCTOBER UNTIL 17 NOVEMBER WCortesi Gallery UNTIL 3 NOVEMBER WMarlborough Contemporary UNTIL 1 DECEMBER
• Ed Ruscha: Course of Empire • Early 21st Century Art • Jan Henderikse: Mint WGagosian, Grosvenor Hill • Antoine Catala WTyburn Gallery
UNTIL 7 OCTOBER UNTIL 17 NOVEMBER UNTIL 20 NOVEMBER • Joe Bradley: Day World UNTIL 13 OCTOBER • Michele Mathison: Dissolution
• Courtauld Impressionists: WAlon Zakaim Fine Art • Herman de Vries: All All All UNTIL 15 DECEMBER WMarlborough Fine Art UNTIL 17 NOVEMBER
from Manet to Cézanne • Mauro Perucchetti: Nuvole UNTIL 30 NOVEMBER WGalerie Kamel Mennour • Paula Rego: From Mind to Hand, WVictoria Miro, Mayfair
UNTIL 20 JANUARY 2019 UNTIL 31 OCTOBER WDavid Zwirner • Tatiana Trouvé: Navigation Drawings from 1980 to 2001 • Conrad Shawcross
• Mantegna and Bellini WAnnely Juda Fine Art • Kerry James Marshall: Map London 2018 UNTIL 27 OCTOBER UNTIL 27 OCTOBER
UNTIL 27 JANUARY 2019 • Alan Charlton: Grey Paintings History of Painting UNTIL 10 NOVEMBER WMassimo De Carlo WVigo Gallery
• Boilly: Scenes of Parisian Life UNTIL 3 NOVEMBER UNTIL 10 NOVEMBER WGalerie Max Hetzler • Kaari Upson • Ibrahim El-Salahi
UNTIL 19 MAY 2019 WBen Brown Fine Arts WFlowers, Cork Street • True Stories UNTIL 17 NOVEMBER UNTIL 26 OCTOBER
• Sorolla: Spanish Master of Light • José Parlá: Echo of Impressions • Michael Kidner: in Black and White UNTIL 19 OCTOBER WMazzoleni WWaddington Custot
UNTIL 7 JULY 2019 UNTIL 9 NOVEMBER UNTIL 13 OCTOBER WGalerie Thaddaeus Ropac • Michelangelo Pistoletto • Ian Davenport: Colourscapes
National Portrait Gallery WBernard Jacobson Gallery WFrith Street Gallery, Golden • Tom Sachs: Swiss Passport Office UNTIL 15 DECEMBER UNTIL 8 NOVEMBER
• Michael Jackson: On the Wall • William Tillyer Square and Soho Square 5 OCTOBER-10 NOVEMBER WMichael Werner Gallery WWhite Cube, Mason’s Yard
UNTIL 21 OCTOBER UNTIL 24 NOVEMBER • Daniel Silver • George Baselitz: a Focus on the 1980s • Pierre Puvis de Chavannes • Julie Mehretu: Sextant
Royal Academy of Arts WBlain|Southern UNTIL 3 NOVEMBER UNTIL 10 NOVEMBER UNTIL 10 NOVEMBER UNTIL 3 NOVEMBER
• Oceania • Sean Scully: Uninsideout WGagosian, Britannia Street WGazelli Art House WMother’s Tankstation Limited WWren Gallery
UNTIL 10 DECEMBER UNTIL 17 NOVEMBER • Chris Burden: Measured • Aziz and Cucher: Tapestries • Mairead O’hEocha: Irises in the Well • David Stewart: Paid Content
• Renzo Piano WConnaught Brown UNTIL 26 JANUARY 2019 and New Works on Paper UNTIL 27 OCTOBER UNTIL 17 NOVEMBER
UNTIL 20 JANUARY 2019 • Henri Martin WGagosian, Davies Street 6 OCTOBER-18 NOVEMBER WNahmad Projects
• Invisible Landscapes UNTIL 20 OCTOBER • Urs Fischer: Dasha WHauser & Wirth, Savile Row • Lucio Fontana: i Teatrini
• Zeng Fanzhi: In the Studio UNTIL 10 DECEMBER
UNTIL 10 NOVEMBER WOlivier Malingue Gallery ○ North London
WHerald St, Museum St • Suspension: a History of Abstract
• Markus Amm & Nicole Wermers Hanging Sculpture 1918-2018 Ben Uri Gallery
UNTIL 10 NOVEMBER UNTIL 15 DECEMBER • Liberating Lives: Women
WHollybush Gardens WOmer Tiroche Gallery Artists from the Collection
• Charlotte Johannesson: Solo • Mao and His Portrayal in UNTIL 7 OCTOBER
UNTIL 3 NOVEMBER Chinese Contemporary Art • Art and Art Book Sale
• Charlotte Prodger: Colon UNTIL 14 DECEMBER UNTIL 7 OCTOBER
Hyphen Asterix WPace, Burlington Gardens British Library
UNTIL 3 NOVEMBER • Adam Pendleton: Our Ideas Windrush: Songs in a Strange Land
WJohn Martin Gallery UNTIL 9 NOVEMBER UNTIL 21 OCTOBER
• Uwe Walther: Paintings 2015-18 WParafin Camden Arts Centre
UNTIL 27 OCTOBER • Melanie Manchot • Amy Sillman: Landline
JACKSON: COURTESY OF DAVID LACHAPELLE. GRAN FURY: COURTESY OF THE ARTISTS

WLisson Gallery, Bell Street UNTIL 17 NOVEMBER UNTIL 6 JANUARY 2019

• Dan Graham: Rock ‘n’ Roll WPilar Corrias Estorick Collection
UNTIL 3 NOVEMBER • Philippe Parreno • Neo Futurist Collective Presents:
WLévy Gorvy UNTIL 10 NOVEMBER Make Futurism Great Again
• Lord Duveen, My Pictures Never Look WPippy Houldsworth Gallery UNTIL 21 OCTOBER
So Marellous As When You Are Here • Mary Kelly: Face-to-Face • A New Figurative Art 1920-
UNTIL 12 JANUARY 2019 UNTIL 3 NOVEMBER 1945: Works from the Giuseppe
WLuxembourg & Dayan WRedfern Gallery Iannaccone Collection
• Sublime Hardware • Paul Feiler and Catharine Armitage UNTIL 23 DECEMBER
UNTIL 8 DECEMBER UNTIL 27 OCTOBER Freelands Foundation
WMarian Goodman Gallery WRobilant + Voena • Look
• Kemang Wa Lehulere: Not Even • Pietro Consagra: Frontal UNTIL 27 OCTOBER
David LaChapelle ‘s An illuminating path (1998) is on display in the Departed Stay Grounded Sculpture 1947-67 Parasol Unit
the National Portrait Gallery’s Michael Jackson exhibition UNTIL 20 OCTOBER UNTIL 16 NOVEMBER • Heidi Bucher
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018 23

international modern
and contemporary art fair
milan

UNTIL 9 DECEMBER Chisenhale Gallery • Yelena Popova

The Showroom • Lawrence Abu Hamdan: UNTIL 3 NOVEMBER
• Lungiswa Gqunto, Pamela Phatsimo Earwitness Theatre WMaureen Paley
and Emma Wolukau-Wanambwa: UNTIL 9 DECEMBER • AA Bronson and General Idea
Women on Aeroplanes Space UNTIL 11 NOVEMBER
UNTIL 26 JANUARY 2019 • Soufiane Ababri WNunnery Gallery
Zabludowicz Collection UNTIL 24 NOVEMBER • Visions in the Nunnery: Tina Keane
• Jordan Wolfson: 360 Wapping Hydraulic UNTIL 28 OCTOBER
UNTIL 21 OCTOBER Power Station WSeventeen
• Josefine Reisch • Focus Kazakhstan: Postnomadic Mind • Gabriel Hartley: Landscapes
UNTIL 28 OCTOBER UNTIL 16 OCTOBER UNTIL 13 OCTOBER
• Rachel Maclean Whitechapel Gallery WStuart Shave / Modern
UNTIL 16 DECEMBER • Surreal Science: Loudon Collection Art, Vyner Street
WLisson Gallery, Lisson Street with Salvatore Arancio • Jacqueline Humphries
• Rodney Graham: Central UNTIL 6 JANUARY 2019 UNTIL 10 NOVEMBER
Questions of Philosophy • Mikhail Karikis: No Ordinary Protest WThe Approach
UNTIL 3 NOVEMBER UNTIL 6 JANUARY 2019 • Caitlin Keogh: Alphabet and Daggers
WPark Village Studios • Elmgreen & Dragset: This Is UNTIL 11 NOVEMBER
• Chris Levine: Inner [Deep] Space How We Bite our Tongue
UNTIL 9 OCTOBER UNTIL 13 JANUARY 2019
WVictoria Miro, Wharf Road • Staging Jackson Pollock
• Yayoi Kusama: the Moving Moment UNTIL 24 MARCH 2019 ○ South London
When I Went to the Universe • Ulla von Brandenburg: Sweet Feast
UNTIL 21 DECEMBER UNTIL 31 MARCH 2019 Drawing Room
WCarlos/Ishikawa • From the Inside Out
• Stuart Middleton: Improvers UNTIL 11 NOVEMBER
UNTIL 27 OCTOBER Dulwich Picture Gallery
○ East London WFlowers, Kingsland Road • Ribera: Art of Violence
• John Loker: Six Decades UNTIL 27 JANUARY 2019
Auto Italia UNTIL 27 OCTOBER Gasworks
• Gran Fury: Read My Lips WHales London • James N. Kienitz Wilkins: Hearsays
UNTIL 2 DECEMBER • Mary Webb: Reverie UNTIL 16 DECEMBER
Autograph UNTIL 27 OCTOBER Goldsmiths Centre for
• Arpita Shah: Purdah—the Sacred Cloth WHerald St Gallery, Herald St Contemporary Art (CCA)
UNTIL 3 NOVEMBER • Diane Simpson • Mika Rottenberg
Omar Victor Diop: Liberty/Diaspora UNTIL 11 NOVEMBER UNTIL 4 NOVEMBER 5 – 7 april, 2019
UNTIL 3 NOVEMBER WKate MacGarry • Ivor Cutler preview 4 april
Cell Project Space • J.B. Blunk UNTIL 4 NOVEMBER fieramilanocity – miart.it
• Alan Michael: Astrology and the City UNTIL 20 OCTOBER Hayward Gallery
UNTIL 11 NOVEMBER WL’étrangère • Drag: Self-portraits and Body Politics
UNTIL 14 OCTOBER
• Space Shifters
UNTIL 6 JANUARY 2019
Horniman Museum and Gardens
• Colour: The Rainbow Revealed
UNTIL 28 OCTOBER
Imperial War Museum
• Paul Cummins and Tom Piper
27 SEP

W1S 4HZ
LONDON

27 ALBEMARLE STREET
UNTIL 18 NOVEMBER
• Renewal: Life after the First —— 15 DEC
World War in Photographs
UNTIL 31 MARCH 2019 2018
• I Was There: Room of Voices
UNTIL 31 MARCH 2019
• Mimesis: African Soldier
UNTIL 31 MARCH 2019
Jerwood Space
• Survey
UNTIL 16 DECEMBER
• Project Space: Anastasia Mina, Theta
UNTIL 15 DECEMBER
Newport Street Gallery
• Martin Eder: Parasites
UNTIL 13 JANUARY 2019
Studio Voltaire
• The Oscar Wilde Temple:
McDermott & McGough
UNTIL 31 MARCH 2019
South London Gallery
• Rory Pilgrim: the Resounding Bell
UNTIL 21 OCTOBER
• Knock Knock: Humour in
Contemporary Art
UNTIL 18 NOVEMBER
Tate Modern
• Shape of Light: 100 Years of
An 18th-century feather god from the Hawaiian islands Photography and Abstract Art
UNTIL 14 OCTOBER

Explore the Pacific islands • Christian Marclay: The Clock

Oceania
Royal Academy of Arts
UNTIL 10 DECEMBER
The first major survey
in the UK of Oceanic art
is on show at the Royal
Academy of Arts (RA). Oceania
displays around 250 objects
from a “vast region”, says the
academy’s senior curator
unlike those shows, it also
includes a major piece of
contemporary art. The New
Zealand artist Lisa Reihana,
who is of Maori descent, is
exhibiting In Pursuit of Venus
[infected] (2015-17), the highly
acclaimed panoramic video
installation that was in the
New Zealand pavilion at the
UNTIL 20 JANUARY 2019
The Bower
• Lucy Gunning: My Heart
is Like a Singing Bird
UNTIL 28 OCTOBER
The Queen’s House, Greenwich
• Mat Collishaw: The Mask of Youth
3 OCTOBER-3 FEBRUARY 2019
WArcadia Missa
• Maggie Lee: Music Videos
UNTIL 27 OCTOBER
WCorvi-Mora
CURATED BY

Adrian Locke, including New 2017 Venice Biennale. The • Dorota Jurczak & Walter Keeler: Flora
GOD: © THE TRUSTEES OF THE BRITISH MUSEUM

Guinea, New Zealand, Hawaii show marks the 250th UNTIL 3 NOVEMBER
ALBERTO

and Easter Island. The scale of anniversary of Captain Cook’s WDanielle Arnaud Gallery
the exhibition is similar to first voyage to Oceania, and is • Nicky Coutts
past blockbuster surveys at also the final show in a year UNTIL 13 OCTOBER
FIZ

the RA such as Africa: the Art of special exhibitions for the WGreengrassi
of a Continent (1995), Aztecs RA as it celebrates its own • Janice Kerbel
(2002) and Bronze (2012) but, 250th anniversary. J.S.
 CONTINUED ON PAGE 25
 JOSÉ PARLÁ ALAN CHARLTON
Grey Paintings

ECHO OF
IMPRESSIONS 13 September – 3 November 2018

3 October —
9 November 2018

Annely Juda Fine Art

23 Dering Street (off New Bond Street)
London W1S 1AW Tel 0207 629 7578
www.annelyjudafineart.co.uk

12 Brook’s Mews London W1K 4DG www.benbrownfinearts.com

Subscribe or renew to save up to 40%

& receive The Year Ahead Guide*

RECEIVE INSIDER NEWS, ANALYSIS & COMMENT with every issue of The Art Newspaper delivered to your door and access to our mobile app
*BACK FOR JANUARY 2019 – THE YEAR AHEAD GUIDE The Art Newspaper’s indispensable handbook listing all the major non-commercial art exhibitions,
fairs and biennials across the globe. Available to subscribers both in print and as an app

TO REDEEM THIS OFFER AND SAVE UP TO 40% Visit us at stand 5 in the reading room at Frieze London.
Quote code OFAF1018 at subscribe.theartnewspaper.com or call +44 (0)844 322 1752
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018 25

CALENDAR Satellite fairs

Frieze week 1-54 Contemporary
African Art Fair
Somerset House, WC2R 1LA
The Other Art Fair
Victoria House and The College,
Southampton Row, WC1B 4AP
UNTIL 7 OCTOBER UNTIL 7 OCTOBER

A still from Journey (2012), The Anti Art Fair PAD London
which can be seen in the Unit 8, 133 Copeland Road, Berkeley Square, W1
Victoria and Albert Museum’s Peckham, SE15 3SN UNTIL 7 OCTOBER
video-game exhibition UNTIL 7 OCTOBER
Sunday Art Fair
Moniker Art Fair Ambika P3, University of
The Old Truman Brewery, Westminster, 35 Marylebone
91 Brick Lane, E1 5QL Road, NW1 5LS
UNTIL 13 JANUARY 2019 UNTIL 7 OCTOBER UNTIL 7 OCTOBER
Serpentine Galleries
• Serpentine Pavilion : Designed
by Frida Escobedo
UNTIL 7 OCTOBER
• Pierre Huyghe
UNTIL 10 FEBRUARY 2019
• Atelier E.B.: Passer-By
UNTIL 6 JANUARY 2019
Victoria and Albert Museum
• The Future Starts Here
UNTIL 4 NOVEMBER
• Frida Kahlo: Making Herself Up
UNTIL 4 NOVEMBER
• Jameel Prize 5
UNTIL 25 NOVEMBER
• Videogames: Design/Play/Disrupt
UNTIL 24 FEBRUARY 2019
WJack Bell Gallery
• Boris Nzebo: Zombi
UNTIL 19 OCTOBER
 CONTINUED FROM PAGE 23 WWhite Cube, Bermondsey WJD Malat Gallery
MOORE: © RYAN MOORE. JOURNEY: © SONY INTERACTIVE ENTERTAINMENT, 2012

UNTIL 6 JANUARY 2019

• Doris Salcedo Mosaic Rooms • Zümrütoglu: Mirror of Darkness
UNTIL 3 NOVEMBER UNTIL 11 NOVEMBER • Behjat Sadr: Dusted Waters UNTIL 13 NOVEMBER
WHannah Barry Gallery • Anselm Kiefer UNTIL 8 DECEMBER WLyndsey Ingram
• James Capper: Ways to UNTIL 11 NOVEMBER • Modern Masters and Contemporary • Sarah Graham
Make a Ship Walk Culture from the Arab World and Iran UNTIL 2 NOVEMBER
UNTIL 27 OCTOBER UNTIL 14 SEPTEMBER 2019 WMichael Hoppen Gallery
WJGM Gallery Saatchi Gallery • Sawatari Hajime
• Martin Maloney: ○ West London • Penumbra UNTIL 15 OCTOBER
Field Workers UNTIL 21 OCTOBER • Shashin: Are-Bure-Boke
UNTIL 26 OCTOBER Design Museum • Forests and Spirits: Figurative UNTIL 12 NOVEMBER
WThe Sunday Painter • Azzedine Alaïa: the Couturier Art from the Khartoum School WOctober Gallery Ryan Moore’s New York Sunshine (2018) is on the
• Nicholas Pope: Sins and Virtues UNTIL 7 OCTOBER UNTIL 25 NOVEMBER • Aubrey Williams stand of Stems Gallery at the Sunday Art Fair
UNTIL 10 NOVEMBER • Beazley Designs of the Year • Black Mirror: Art as Social Satire UNTIL 27 OCTOBER

BOB DY L A N
MON DO SCR I P TO
LY R I C S A N D D R AW I N G S E X H I B I T I O N

9 OCTOBER –
3 0 N OV E M B E R 2 018

144 –146 New Bond Street | W1S 2PF

T +44 (0 )20 7100 7144 | halcyongaller y.com
 26 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 5 OCTOBER 2018

OVERHEARD AT THE FAIR:

DIARY “I mean, I have a massive

living room but this
On the town would be pushing it”
On Tatiana Trouvé’s 1.2-tonne bronze tree
with Galerie Kamel Mennour at Frieze London

Twenty-four-hour passport people Goldie gets his teeth into Arts Club
Damien Hirst’s
As Brexit border chaos looms, Galerie Thaddaeus Ropac is hosting a new HQ may be The legendary DJ Goldie shook
timely 24-hour performance by the US artist Tom Sachs. Until 6pm on inspired by the things up in Mayfair earlier this
6 October, the gallery will issue visitors with a personalised facsimile Savoy hotel, but week at the Arts Club’s banging
Swiss passport in exchange for a €20 fee. (Sterling will not be accept- don’t expect any Frieze party. Never mind that the
ed.) The one-day-only passport office is Sachs’s response to Brexit, afternoon tea support act, the youthful South
Syria and Donald Trump’s immigration policies and “their challenge to African rapper Riky Rick, cheekily
the notion of global citizenship”. Administering passports last night addressed him as “Old G”, and
were Ropac himself and the gallery’s senior global director of special that the volume was turned
projects, Julia Peyton-Jones. But why Swiss? Sachs says it is “the ulti- down to placate the neighbours.
mate status nationality, representing wealth, neutrality and freedom”: The king of drum’n’bass still
a status he wishes to make available to all. In our dreams. flashed his gilded gnashers and
got the dancefloor heaving, with
movers including the artistic
director of the English National
Ballet, Tamara Rojo, the fashion designer Ozwald Boateng and the artists
Haroon Mirza and Conrad Shawcross. Special mention goes to Nicholas
Cullinan, the director of the National Portrait Gallery and the curator of
its Michael Jackson: On the Wall show, who revealed a repertoire that
goes way beyond the moonwalk Cullinan has showed off before.

A river runs through Frieze Masters

Hats off to Dickinson Gallery,
which has left no stone un-
turned in its faithful re-creation
of Barbara Hepworth’s sculpture
garden in St Ives, Cornwall,

Hirst embraces Soho chic for its stand at Frieze Masters.

Hepworth’s massive bronze
River Form (cast in 1973) takes
Damien Hirst is sparing no expense on his new £40m HQ in the heart of London’s Soho. pride of place on a glistening
The bad boy of British art has spent an extra £20m on developing his flagship “studio pool surrounded by glossy
and art complex” on Beak Street, designed by Stiff + Trevillion architects. The building’s shrubbery. But the crowning
façade incorporates more than 100 bricks glazed with “bespoke iridescent turquoise glory is a pair of head-turning

The passport doctor will see you now: Sachs is giving gallery-
goers the chance to become Swiss “citizens”—for one day only
HIRST: © GAZANFARULLA KHAN VIA CREATIVE COMMONS. SACHS: GENEVIEVE HANSON; © TOM SACHS STUDIO. GOLDIE: OLIVER RUDKIN/REX SHUTTERSTOCK. HEPWORTH: GARETH HARRIS
colouring… carefully cultivated and manufactured in Holland”, a statement says. stuffed seagulls. “The birds are
Inspired by the five-star Savoy hotel, the luxurious bathrooms are finished in Carrara not for sale—although they
marble, with uber-chic suites and walk-in showers. The cathedral-like space will be wouldn’t look out of place in a Maurizio Cattelan installation,” one
used for “producing and showcasing artwork”, says the brief. The (multi-)million-pound gallery assistant quipped. Green-minded as well as green-fingered,
question: will the studio double as a gallery for Damo’s latest masterworks?  Dickinson will donate all the plants from the presentation to Herriot
Hospice Homecare in north Yorkshire.

Confessions of a dealer: Lisa Panting Artoon by Pablo Helguera

Co-director, Hollybush Gardens, London Frieze London
The most underrated art movement… the state of things: Brexit, pollution,
is the Blk Art Group from 1980s Britain. worrying about people or fighting
foxes. But mostly I’m a deep sleeper.
The artist I should have signed…
is Senga Nengudi. I’d rather visit a museum…
than most things. It’s a way into a
Dealers are misunderstood… place and good for people-watching.
because people assume it is about money.
Small talk is…
The next big thing… sometimes fun but mostly pretty deadly.
will hopefully be a shift in politics.
I last cooked…
Life’s too short… for my mum.
to miss out on sea air and forest walks.
My favourite box set…
Things that keep me doesn’t exist yet.
awake at 3am include… Interview by Gareth Harris

BY HIS WILL,
WE TEACH BIRDS
HOW TO FLY
IBRAHIM EL-SALAHI
IN BLACK AND WHITE
19 September – 26 October 2018

AMIR NIKRAVAN
22 January – 9 March 2019

VIGO GALLERY
vigogallery.com #vigogallery
 Midtown Cultural District Immediate Occupancy

Alcove loft to two-bedroom

residences from $2.3M
The residences at One Hundred Three-bedroom full floor residences
East Fifty Third Street offer luxurious condominiums from $13.25M
designed by world-renowned architect Four-bedroom duplex penthouse, $65M
Norman Foster of Foster + Partners with interior info@100E53.com
design led by AD100 William T. Georgis and 100E53.com
surrounded by world-class cuisine, art, shopping, and
global businesses in Manhattan’s famed Midtown. On-site Sales Gallery and Model
Residences By Appointment Only
Extensive amenities include a casual all-day
restaurant and fine dining restaurant by legendary
chef Joël Robuchon; a 60-foot sunlit swimming pool;
multilevel wellness facility; library; and global, hotel-
like concierge services.

RFR, Owner / Developer

Vanke, Owner
Foster + Partners, Architecture
William T. Georgis, Interior Design
Hines, Co-Developer
Compass, Sales & Marketing
Classic Marketing, Sales & Marketing

Artist renderings reflect the planned scale and interior design and are subject to the Sponsor’s right to make changes to material specifications and design. Views shown are approximate and will vary depending on unit and floor. Not all residences contain the same material
specifications, finishes and appliances. Please check with your sales representative. All dimensions are approximate and subject to construction variances. Plans, layouts and dimensions may contain minor variations from floor to floor. Sponsor, 610 Lexington Property LLC,
reserves right to make changes in accordance with the terms of the Offering Plan. The complete offering terms are in an Offering Plan available from the Sponsor, File No. CD# 15-0075. We are pledged to the letter and the spirit of U.S. policy for the achievement of equal housing
opportunity throughout the nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, religion, sex, handicap, familial status or national origin.
dior.com – 020 7172 0172

LA ROSE DIOR COLLECTION

Pink gold, white gold, diamonds, tsavorite garnets
and pink sapphires.