THE ART NEWSPAPER| FRIEZE ART FAIR |4 OCTOBER 2019 ISSUE 3| FREE EVERY DAY
MASTHEAD
Something in the stars?
Art world goes spiritual
With artists and
galleries embracing
the new age, is there a
commercial pull, too?
S
pirituality is on trend. Tarot, the occult,
astrology, meditation apps, crystals—as
political turmoil surrounds us, interest
in “new age spiritualism” is booming.
And this week, the esoteric is in the
ascendant at Frieze and in numerous exhibitions
around London.
“I think today people realise that science
doesn’t have the answers, religion doesn’t have
the answers, art doesn’t have the answers…
we need a hybrid that takes a bit of everything
in order to find something to believe in,” says
Damien Hirst, whose exhibition of mandalas,
ritual geometric patterns used for meditation,
at White Cube (until 2 November) had visitors
MÉLANIE MATRANGA: DAVID OWENS. BANKSY: © BRISTOL CULTURE. ANITA WITEK: COURTESY OF THE ARTIST. NAM JUNE PAIK: JUSTIN SUTCLIFFE/AP/SHUTTERSTOCK, © REX SHUTTERSTOCK
queueing around the block when it opened last
month. While Hirst—who has dwelt upon spirit-
ualism and religion his whole career—says such
works do not reflect any beliefs he may have, he
observes: “Everybody’s on the lookout for some-
thing that can get them through the darkness.”
The retreat from religion, particularly among
the left-wing art world, is a driving factor behind
this rise in spirituality. “Organised Christianity
has proven itself largely morally bankrupt,”
says the artist AA Bronson, who first became
interested in shamanism and alternative belief
systems at the age of seven. “Perhaps the climate
crisis and the recent uprising of young people
suggests a new relationship to the natural and
spiritual worlds. In my opinion this is a real shift
in our cultural reality.” A work by Bronson’s col-
lective General Idea is on show at Frieze London
with Maureen Paley.
Marc Glimcher, the president and chief exec-
utive of Pace, echoes this sentiment. “For many,
organised religion’s rejection of universality has
left a gap,” he says. Last month, Glimcher hinted
at his mystic depths by opening his new gallery
in New York with a blessing from a shaman. It
was, Glimcher says, “a moment for the family
that is Pace to reflect and appreciate one another
and the journey”. Glimcher observes “a growth
in the search for an expansion of consciousness
today; artists are often the first to recognise and
articulate this”.
THEA RT NEWSPAPER .COM / DOWN LOAD T HE N E W APP
BY
ANITA
WITEK
What does it mean
to you to be European?
“Being lucky to travel, study, work
and live on a continent without being
stopped by national borders. And
appreciating this current state, particu-
larly considering a post-war Europe and
the shattered lives of my grandparents.”
Austrian artist Anita Witek studied pho-
tography at the Royal College of Art in
London. She had her first UK solo show
at l’étrangère gallery in 2015. Her work is
on show in an exhibition of female artists
juxtaposed with Old Masters at Palais
Kinsky in Vienna (This is not the Kiss of a
Muse, darling!, until 25 October).
Devolved Parliament (2009) sold for £8.5m after a 13-minute bidding battle
Banksy’s parliament goes ape INSIDE
PANDEMONIUM ERUPTED AT SOTHEBY’S in London last night when at least ten eager collectors vied
for Banksy’s painting Devolved Parliament (2009), showing a Commons chamber packed with chimpan- COMMENT
zees, which rocketed to £8.5m (£9.9m with fees), smashing the artist’s previous record of £1.5m. The work Recession looms but private museums
was estimated at £1.5m-£2m. After a spirited 13-minute battle in which bidding jumped by £1m increments offer respite, Georgina Adam says P4
at times, Sotheby’s head of sale Emma Baker won the 13ft canvas—consigned by a UK collector—on behalf
of an anonymous client on the phone.
The timing of the sale was impeccable, coming exactly four weeks before the Brexit deadline and a year
after Banksy’s Girl with Balloon (2002) was shredded via remote control in the same saleroom. That sold
for £1.04m with fees after it was legally designated a new work and renamed Love is in the Bin. Security was
extra tight last night, with Sotheby’s taking every precaution to avoid a rerun, particularly with Pest Control—
Banksy’s handling service—in the room. The painting was in the saleroom until just before the auction but
removed at the last minute. “After last year, can you blame us?” said the firm’s head of security. Anny Shaw
Many of these ideas have their roots in the
counterculture of the 1960s and 1970s. “What
Damien Hirst is doing [with the mandalas] isn’t
particularly new; he’s just doing it in a more
NAM JUNE PAIK
acceptable time,” says the dealer Alison Jacques. The video artist’s Sistine Chapel is being
At Frieze London her gallery is showing works re-created in London PP7-8
by Lenore Tawney who became deeply involved
with spiritualist ideas in the 1970s. “When FRIEZESCOPE
Lenore was exploring these ideas of Eastern Water signs can paddle in the pools of
philosophies and Western mysticism, she their subconscious this month P25
Matranga’s Passive Aggressive Astrology (2019) CONTINUED ON PAGE 2 
/ @ T HE ART N E W SPAPE R / @ THE ARTNE W SPAPE R . OFFICIAL
 2 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019
NEWS
Artists
Clutch of Cézanne shows is on the cards
Major exhibitions in
UK, US and Hungary
are expected to
be announced
A
s an exhibition of
Paul Cézanne’s works
on paper opens at
Luxembourg & Dayan
in London (until 7
December), The Art Newspaper has
learned that the post-Impressionist
artist will have a slew of exhibitions
over the next couple of years at major
institutions including the Museum
of Modern Art (MoMA) in New York,
Tate Modern and the Art Institute of
Chicago.
A spokeswoman for MoMA says the
institution “[has not] confirmed details
for or announced a Cézanne show”,
but we understand that the exhibition
is scheduled for the spring or summer
of 2021 and is due to be curated by
Jodi Hauptman, the senior curator of
drawings and prints at the museum.
Tate Modern also declined to confirm
its presentation, with a spokesman
saying: “Tate has only announced
our exhibition programme up to the
end of 2020.” But we can report that
the show is planned for November
2021-April 2022 and will be hosted in
collaboration with the Art Institute
of Chicago, which confirmed that the
show is scheduled to take place at the
US institution between 8 May and 5
September 2022. However, “the dates
are subject to change at this point”, a
Something in the
stars? Art world
gets spiritual
 CONTINUED FROM PAGE 1
had a small group of mainly female
followers but was quite marginalised,”
Jacques says.
Today, such ideas have entered the
mainstream and have become a salea-
ble commodity. The new Pace gallery
in New York has crystals embedded in
its walls and the London gallery Sadie
Coles HQ is selling “healing” gems and
minerals in its pop-up shop with the US
artist Andrea Zittel (open throughout
A thriving
community
for the arts
OP E NIN G M AY 2020
Cézanne is already well represented at the National Gallery in London, and the Royal Academy has already confirmed a show for 2020
spokeswoman says. There is also an
exhibition called Cézanne and Modernism
at the Museum of Fine Arts, Budapest,
planned for October 2020-February
2021; the museum did not respond to a
request for comment.
Interest in Cézanne is particularly
strong this year, 180 years after his
birth. Current shows on the artist
include Manchester’s Whitworth (until
1 March 2020), which is centred on
a large group of works on paper left
to the institution by the late dealer
Karsten Schubert. The Royal Academy
of Arts, London, recently announced
its forthcoming exhibition dedicated to
Cézanne’s paintings of rocks and quar-
ries (scheduled for August-November
2020). The show, in collaboration with
Frieze week). Tarot, too, has witnessed
a revival, this month: Taschen will
republish Salvador Dalí’s 1984 tarot
deck. Spiritualism has arguably been
co-opted by capitalism and “spiritualist
merch” is a booming business.
But some artists are more dismiss-
ive of the spirituality-meets-wellness
industry. The artist Grayson Perry has
produced a £95 yoga mat as part of
his new exhibition at Victoria Miro,
Super Rich Interior Decoration (until
20 December). The design bears the
words “my spiritual side” on one
buttock and the names of various star
signs. “We are now in a post-
materialist consumerist world where
what we actually buy now is status
around our virtue,” he says, referring
Another catalyst
for increased
interest this year
is the launch
of a new online
catalogue raisonné
to “that Gwyneth Paltrow world”.
Meanwhile, the US artist Shana
Moulton’s new video work commis-
sioned by the Zabludowicz Collection
in London (on view until 15 December)
explores the relationship between
spirituality and consumerism through
her alter-ego Cynthia, who uses a
clichéd cocktail of wellness rituals,
new-age spirituality and crystals to
cope with anxiety.
At Frieze London, the Parisian
gallery High Art is showing wall hang-
ings based on star signs by the French
artist Mélanie Matranga. They are a
reaction against the “positive affir-
mations only” use of astrology, says
the gallery’s Romain Chenais. Also at
the fair over the weekend, Goodman
ME MB E R S HIP @ C RO M W E L L P L A C E. C O M
Princeton University, will be curated by
John Elderfield and Ann Dumas.
The exhibition at Luxembourg &
Dayan, Reconstructing Cézanne, which
opened on Wednesday, draws together
numerous loans and focuses on new
research using forensic analysis
by Fabienne Ruppen based on the
paper used by the artist. Through
this research, a considerable group
of Cézanne’s work has been re-dated.
(Cézanne never dated his works, com-
plicating the matter for scholars and
dealers.) Another catalyst for increased
interest this year is the launch of a new
online catalogue raisonné, which can
be amended and added to in line with
future research.
Anna Brady
Gallery’s stand will feature the work
of the intersectional preacher, yoga
teacher and artist Tabita Rezaire (who
is also included in the gallery’s inau-
gural show in its London space), who
uses her “digital healing activism”
to assist in the “dismantling [of] our
white-supremacist-patriarchal-cis-hete-
ro-globalised world screen”, she says.
As with any subculture that is
embraced by the mainstream and
commodified, has the concept of the
spiritual lost its purpose? Hirst says:
“I think everything is commodified,
but you just have to believe that the
commodification is not something that
can corrupt it. I feel like that about art
on a daily basis.”
Anna Brady
| C RO M W E L L P L A C E. C O M
Tania
Bruguera’s
Turbine Hall
commission
becomes
permanent
IT SEEMS AN uneven match: on one
side the billionaire Len Blavatnik, who
reportedly donated more than £50m
to the Tate; on the other, a south
London activist called Natalie Bell
who has donated her time to helping
the local community. But now, both
have buildings at Tate Modern named
after them.
As part of her Turbine Hall
commission last year, the Cuban artist
Tania Bruguera renamed Tate Modern’s
main building after Bell, who has
worked for decades with youth and
community programmes in the local
area. The name change was meant to
last a year—up to the unveiling of Kara
Walker’s new commission this week.
But it has now been made permanent,
and Bell’s name sits proudly opposite
that of Blavatnik’s, whose financial
gift is one of the largest in the muse-
um’s history.
“I’m delighted that we’re retaining
the name of the Natalie Bell Building,”
says Tate Modern’s director Frances
Morris. “Natalie has transformed so
many lives in the area.”
At a time when the names of
museum buildings, extensions and
CÉZANNE SELF-PORTRAIT (AROUND 1880-81) © THE NATIONAL GALLERY, NATIONAL GALLERY COLLECTION: DAMIAN GRIFFITHS. KAWS: ©FARZAD OWRANG
galleries are coming under increased
scrutiny, with institutions trying to
balance their values with the need for
sponsorship, the keeping of the name
is a bold move. “The institution has
signalled with this gesture that it is not
trying to ‘solve’ things by creating an
event but that it has committed to be
part of a long-term dialogue on socially
responsible culture,” Bruguera says.
Bell echoes the sentiment, saying that
“real change takes time and even for
me a year is not long enough to realise
or imagine what transformations
can happen.”
Although the Tate has acquired
several works from its series of
Turbine Hall commissions—from
Louise Bourgeois’ spider Maman
(1999) to part of Ai Weiwei’s Sunflower
Seeds (2010)—and there is still some
evidence of the filled-in-crack that
was Doris Salcedo’s Shibboleth (2007),
Bruguera’s is the first work from the
series to remain in situ.
José da Silva
4 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019
COMMENT
A recession is on its way
but growth of private
museums offers hope
Georgina Adam Editor-at-large, The Art Newspaper
A
recession is
coming: “Will it
be in three, six
or 12 months?
I don’t know;
but what I do
know is that in
all my career I have never experi-
enced a situation like today’s.” This
was said to me this summer by an
experienced wealth manager in
Europe. The global economic outlook
is weakening, battered by multiple
factors: the US-China trade war,
a slowing economy in China and
elsewhere, turbulence in Hong Kong,
the ongoing Brexit crisis and unprec-
edentedly low interest rates—indeed
negative ones for some countries’
bonds.
Just how much will this impact on
the art market, as it restarts after the
summer break?
The figures from the first half of
the year are not encouraging: accord-
ing to ArtTactic, a data analytics firm,
auction sales by Christie’s, Sotheby’s
and Phillips overall declined by 20.3%
in the first six months of the year. A
far more severe decline hit Chinese
and Asian art sales, which more than
halved in the first quarter of 2019,
compared with 2018. And the top
of the market has been hardest hit;
according to figures from Artnet, sales
of works over $10m shrank by 35% in
the first half.
Conf idence is key in the art
market, as indeed in other markets.
Any whiff of a slowdown can cause
consignors to hold back, so causing
sales to shrink. There are no knock-
out estate sales on the horizon, such
as Rockefeller in 2018: Christie’s sale
of works from the Italian bank Uni-
credit aims for €50m overall, but its
offering during Frieze week totals
just £14m.
Those auctions are slightly
smaller than the equivalent sessions
last year: Christie’s is expecting
between £98.4m and £141.4m for its
four October sales compared with
£155.8m last year in three sales. Sothe-
by’s targets £56.4m to £80.1m; it made
£83.7m in 2018. Phillips is slightly
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bigger: its upper target is £38.4m,
compared with results of just over The art market
£33m last year. might shrink
Burgeoning private spaces a little, but it
Nevertheless, there are many reasons
for optimism, despite the gathering is unlikely to
storm clouds. The growth of private
museum/foundation/art spaces—call collapse any
them what you will—is a powerful
new force. In September, the Nor-
time soon
wegian collector Christen Sveaas
opened The Twist, a stunning new
building outside Oslo. London col-
lectors Fatima and Eskander Maleki are expanding—again, a sign of con-
will soon show their collection in a fidence in the future. A recruitment
building in France. In Rome, Ovidio agency told me that some are increas-
Jacorossi is about to inaugurate ing staffing by up to 30%—surely a sign
Musja, a private art space. And these of confidence in sales. And the use of
are just a few examples of a world- art to enhance luxury goods—from
wide phenomenon. All these spaces smart cars to upscale real estate—is
need filling—and while many already gathering pace. The art market might
have holdings, they will need to con- shrink a little, but it is unlikely to col-
tinue to acquire art in order to stay lapse any time soon. 
fresh and relevant. • This article first appeared in Art Market INSTALL TODAY
The US economy is doing well— Eye, a market-focused monthly newsletter from the iOS app
and America is the largest art market produced by The Art Newspaper. Sign store or go to
in the world. Here, mega-galleries up at bit.ly/AME-Frieze bit.ly/TAN-app-Frieze
D I A L E C T I C A L M AT E R I A L I S M
ASPECTS OF
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S I N C E T H E 19 6 0 S
A N T H O N Y C A RO
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RICHARD LONG
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 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019
FEATURES
Video art
System upgrade for
NAM JUNE PAIK
T
he Sistine Chapel is coming to
The late artist’s London this month. And while it
may not be the Renaissance origi-
award-winning nal, the effort exerted to resurrect
Nam June Paik’s 1990s techno-
Venice Biennale logical twist on Michelangelo’s
masterpiece makes this feat no less impressive.
The late Korean-American’s “video chapel” is
presentation has being reconstructed for the first time in nearly
NAM JUNE PAIK: JUSTIN SUTCLIFFE/AP/SHUTTERSTOCK, © REX SHUTTERSTOCK
three decades for a major touring retrospective
been painstakingly on “the father of video art”. The exhibition
is due to open at Tate Modern on 17 October
re-created at Tate before travelling to the San Francisco Museum of
Modern Art (SFMoMA), which co-organised the
show with the Tate, and then to the Netherlands
Modern—clunky and Singapore.
Last shown in the German pavilion at the
old tubes and all 1993 Venice Biennale, Sistine Chapel (1993) is a large-
scale installation comprised of 40 video projectors
beaming overlapping images of graphics and
By Emily Sharpe noted personalities, including the artist Joseph
Beuys and the rock star Janis Joplin, in rapid-fire
4 0 D O V E R STR E E T, M AY FA I R , LO N D O N | + 4 4 ( 0 ) 20 74 9 9 8581 | W W W. T H E A RTS C LU B . C O. U K
succession. Hans Haacke dominated the pavil-
ion’s central space with a celebrated installation
that smashed the marble floor installed under the
Nazi regime, while Paik commandeered the build-
ing’s wings and grounds. Sistine Chapel filled one of
these side areas. The pair won the Golden Lion for
the joint presentation, though Haacke’s smashed
pavilion floor attracted most of the headlines.  vators worked with the specialist contractors ADI
Another of Paik’s video pieces from the
1993 Venice Biennale is due to be auctioned at
Christie’s Unicredit sale on 5 October (Anonymous
Crimean Tatar who Saved Life of Joseph Beuys—Not
yet Thanked by German Folks (1993); est £160,000-
£240,000), while Gallery Hyundai is showing
works by the artist at Frieze London and
Frieze Masters.
Until now, Sistine Chapel has existed in the art-
ist’s estate as four videos and two modified video
switches, says the associate curator Valentina
Ravaglia, who worked on the show with the
co-curators, Sook-Kyung Lee of the Tate and Rudolf
Frieling of SFMoMA. Frieling says it takes the
7
Nam June Paik preparing at New
York’s Holly Solomon Gallery ahead
of the 1993 Venice Biennale
might of a major retrospective to be able to pull
off a project like this. “It takes a village; it’s not
something you can just deliver and place.”
Paik, who died in 2006, did not leave instruc-
tions on how to reconstruct it, probably, Ravaglia
says, because he never expected it to be restaged:
“I don’t think he thought of it as a portable work.”
Indeed, installing the piece in Venice was so
taxing on Paik’s team, who had to haul 40 heavy
projectors up onto scaffolding erected several
metres above the floor, that the artist paid for
each crew member to have an extra egg for break-
fast each morning. 
Only a few grainy photographs of the original
installation exist, including one in Frieling’s
personal archive; before he swapped his journalist
hat for a curator’s cap, he interviewed Paik at the
Biennale for a German television station.
In the absence of Paik and extensive docu-
mentation, the curators turned to John Huffman,
the curator of the artist’s estate and one of Paik’s
long-time studio assistants. He provided a map of
the projected images, complete with the desired
sizing and overlap, and then curators and conser-
to determine where each video projector needed
to sit.
Convenience counts 
Like Paik’s early TV works, many of the projec-
tors he used for the original installation featured
cathode ray tubes (CRTs), which manufacturers
no longer produce and so are becoming difficult
to source. But Ravaglia says Paik’s decision was
mainly motivated by convenience. “It really didn’t
matter to him that they were CRT projectors; he
just needed ones he could buy in bulk,” she says.
 CONTINUED ON PAGE 8
 8 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019

Clockwise, from left: the original Sistine Chapel

FEATURES featured 40 video projectors. Paik’s early use of

technology can be seen in Robot K-456 (1964), a
20-channel radio controlled robot. Self-Portrait
(2005) incorporates a 10” LCD colour monitor
Video art

 CONTINUED FROM PAGE 7

Video projectors, especially the old behemoths

Paik used, produce a lot of heat so one can only
imagine the temperature in the German Pavilion
during the height of summer. But the Tate cura-
tors decided against whittling down the number
of projectors to just ten, choosing instead to use
slightly smaller and lighter ones.
One of the main challenges faced by time-
based media is the obsolescence of technology.
“It’s an ongoing whack-a-mole problem,” says
the media conservator Dan Finn from the
Smithsonian American Art Museum (SAAM) in
Washington, DC, which houses the Nam June Paik

SISTINE CHAPEL: ROMAN MENSING/ARTDOC.DE; © ESTATE OF NAM JUNE PAIK. ROBOT K-456: COURTESY FRIEDRICH CHRISTIAN FLICK COLLECTION IN HAMBURGER
Archive. For this reason it is vital that museums

BAHNOF, © ESTATE OF NAM JUNE PAIK. SELF-PORTRAIT: PHOTO: KATHERINE DU TIEL, SAN FRANCISCO MUSEUM OF MODERN ART, © ESTATE OF NAM JUNE PAIK
“document the artists’ intent, and become com-
fortable with a notion of ‘the work’ as not just one
thing, but as a concept and experience that might
manifest differently over time,” says SAAM’s time-
based media curator Saisha Grayson.

Dying technology 
With Paik, it is his frequent use of CRT TVs and
monitors that causes the most difficulty. “No one
makes glass [cathode] tubes anymore. It’s a dying
technology and so it’s a big source of anxiety
“It takes a village;
within the field,” Finn says. When CRT monitors
were new, technicians had developed a way to
it’s not something
repair broken tubes, but this knowhow was lost. you can just deliver
The good news is that experts are working to
revive this skill. and place”
Early on, the Tate called recycling centres
around London, asking for old CRT TVs because
the institution’s stockpile of equipment was not
big enough to support such a large exhibition
of video works. Ravaglia admits it is not an ideal
way to collect material: “We’d go collect them to
find that they looked like a bird bath with pools
of water inside the ring where the screen used
to be. Only 2% worked.” Finding the right colour
and size can also be problematic. “We obviously
didn’t want the silvery ones or those shaped like
Darth Vader’s head,” she says. The small, five-inch
CRT TVs, like those Paik used to create some of his
famous robots, are the hardest to source.
Fortunately for today’s curators and conserva-
tors, Paik was acutely aware of the obsolescence
of technology and had already begun to replace
CRTs with LCD screens in some works. Huffman
reassured the Tate curators that they should not
be beholden to the authenticity of the medium
because Paik would be the first not to care. “He
constantly transmitted and translated images
and formats from one medium to another, which
gives curators some licence to make decisions that
might seem counter-intuitive,” Ravaglia says.
Many are still uncomfortable with changing
the original monitors, however. “Museums try
to use CRTs because of the sculptural element
to them. The screens are curved, and the image
quality is warmer. LCDs are flat and the images are
sharper,” Finn explains. In an effort to preserve
the all-so-important curve of old TV monitors,
Finn has considered bending flexible LCD screens
over the original glass ones.
Many curators dream of presenting rarely
exhibited works to see if they still resonate, and
Frieling is no different. “If you think about it, how
many actually saw Sistine Chapel? It was shown in
Italy two generations ago.” He acknowledges that
its restaging took a lot of time and resources but,
then again, “restoring the Sistine Chapel in Rome
would take a lot of resources also”.
• Nam June Paik, Tate Modern, 17 October-
9 February 2020

2 OCT — 13 DEC 2019

DRINKS RECEPTION
FOR WEST END NIGHT
THURSDAY 3 OCTOBER
6 — 8 PM

ERIC BAUDART
BRASSAÏ
BY OHNE TITEL
CAI GUO-QIANG
ADRIEN DAX
ÓSCAR DOMÍNGUEZ
JEAN DUBUFFET
MARCEL DUCHAMP
MAX ERNST
SAM FRANCIS
DAVID HAMMONS
GEORGES HUGNET
GYÖRGY KEPES
YVES KLEIN
GLENN LIGON
HEINZ MACK
MERET OPPENHEIM
WOLFGANG PAALEN
GINA PANE
ROLAND PENROSE The Interaction of Colour
MAN RAY
ED RUSCHA Anni Albers | Josef Albers | Polly Apfelbaum | Rana Begum
RUDOLF STINGEL Michael Craig-Martin | Carlos Cruz-Diez | Ian Davenport
ANTONI TÀPIES Patrick Heron | Ellsworth Kelly | Sol LeWitt | Bridget Riley
THU-VAN TRAN
RAOUL UBAC
GÜNTHER UECKER
CHRISTOPHER WOOL
Exhibition continues Cristea Roberts Gallery
until 26 October 2019
143 NEW BOND STREET 43 Pall Mall, London SW1Y 5JG
+44 (0)20 7439 1866
LONDON, W1S 2TP Carlos Cruz-Diez, info@cristearoberts.com
detail from Germania, 2018 www.cristearoberts.com
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New York – Chelsea London Hong Kong

Roy DeCarava Nate Lowman Philip-Lorca

Light Break
September 5 – October 26
October 1, 2017
October 3 – November 9
diCorcia
September 10 – October 12

Anni Albers Paris Carol Bove

September 10 – October 19
Ten Hours
Raymond Pettibon November 1 – December 14
Paul Klee Frenchette
1939 October 16 – November 23
September 10 – October 26

Lucas Arruda
Deserto-Modelo
September 12 – October 26

New York – Upper East Side

Roy DeCarava
the sound i saw
September 5 – October 26

Art Fairs Online

Frieze Anni Albers

Booth B03 September 10 – October 22
October 3 – 6
Raoul De Keyser
Frieze Masters Modern Master
Booth F10 September 28 – October 6
October 3 – 6

FIAC
Booth B36
October 17– 20

David Zwirner
Raymond Pettibon: Frenchette David Zwirner Paris
October 16 – November 23, 2019 Inaugural Exhibition
Opening Reception: Wednesday 16 October 2019, 6 – 9 PM 108, rue Vieille du Temple
No Title (This being the...), 2019 (detail) 75003 Paris
 12
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
Gemma De Angelis Testa
G
emma De Angelis Testa
is a private collector with
a public-minded mission.
In 2003, she created
ACACIA, an association of
around 100 friends of Italian contempo-
rary art, which supports artists through
its annual awards and has donated
some 30 works to Milan’s Museo del
Novecento. She honed her eye for
contemporary art during her marriage
to the artist and advertising creative
Armando Testa (1917-92), whose legacy
she champions today through the cura-
tion of his archive. Together with the
artist Michelangelo Pistoletto, a friend
and student of Testa’s, she has selected
sculptures, photographs, posters and
paintings by her husband for a solo
presentation with Galleria Continua at
Frieze Masters, accompanied by a new
two-volume catalogue of his work.
50 Leading Dealers
THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019
THE ART NEWSPAPER: How did you
first get into collecting?
GEMMA DE ANGELIS TESTA: When
we met, one of the first things my
husband said to me was: “Paintings are
for museums and galleries—the walls
of the house must be kept as white as
the pages of a sketchbook.” Perhaps as
a creative he was right in not wanting
to be distracted by other images. A
few sporadic purchases aside, the real
collection therefore began only after
his death [in 1992].
What was the first piece of art that
you bought?
Cy Twombly’s Vengeance of Achilles
(1962). I’m particularly fascinated by
the poetry of his writings alongside
the image. The presence of image and
word together was something I sought
out in the first works I bought. Today,
BRITISH ART FAIR
3 - 6 October 2019
Special Exhibitions: YBA, Alan Davie & David Inshaw
for more information and tickets, visit britishartfair.co.uk
Gemma De Angelis Testa with Sedia
Antropomorfa (1976) by her late husband
this piece forms a dialogue with certain
works by Anselm Kiefer, Pier Paolo
Calzolari, Tracey Emin, Ed Ruscha and
Richard Prince.
What is the most recent work you
have bought?
Belt Exercise by Monica Bonvicini, the
winner of the 2019 ACACIA award. The
bronze belt synthesises her reflections
on the relationship between gender
and space.
What is the most expensive work in
your collection?
It is not only a work’s economic value
that counts, but the additional trans-
actions that its installation may entail.
For example, I recently purchased a
“A favourite
daydream of mine
has been to create
my ideal museum”
work by Pascale Marthine Tayou that
is made up of 140 sanpietrini paving
stones, each weighing 4kg. I asked
various specialists and ultimately a
structural engineer to confirm that the
wall it was intended for could support
its weight. It would have displeased
me greatly if it made a surprise visit to
the neighbour downstairs by crashing
through the ceiling.
If your house was on fire, which
work would you save?
The works in my house have been
chosen with love and have helped me
understand many things in life. For this
reason, it is difficult for me to choose a
single piece to save in an emergency. I
think I would rather reciprocate their
love by choosing to share their fate.
If money was no object, what would
be your dream purchase?
Dreams are fundamental—they help
us to live, especially living as we do in
a society full of contradictions. From
a young age, a favourite daydream
of mine has been to create my ideal
museum. I would like to see it realised
one day and share it with everyone.
Which work in your collection
requires the most maintenance?
A work by my husband, Lampadina
limone (1968), which uses a real lemon
that needs to be replaced regularly.
Also his entire series of works on food,
such as Tavolo con scarpine (1980), which
has a tablecloth made of mortadella.
What is the most surprising place
you have displayed a work?
There is one work that was actually
created in my house at the request
of the artist himself. It’s a tiny figure,
as small as an ant, drawn on a white
door by the artist Nedko Solakov. It’s
so small that guests only see it when I
point it out. I check daily to make sure
it doesn’t accidentally get rubbed out.
Which artists, dead or alive, would
you invite to your dream dinner
party?
My husband, without a doubt. A bril-
liant and fascinating man, with an
unbeatable sense of irony, with whom
I continue to share my life every day
through my work in his archive and by
promoting his exhibitions.
Interview by Hannah McGivern
Saatchi Gallery
THE ART NEWSPAPER
Frieze Art Fair editions
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Deputy Editor Julia Michalska
Fairs and special projects editor Emily Sharpe
FRIEZE LONDON EDITIONS
EDITORIAL
Co-editors, Frieze London Editions Julia
Michalska, Emily Sharpe
Deputy Editor, Frieze London Editions Hannah
McGivern
Contributors Anna Brady, Louisa Buck, Margaret
Carrigan, Alison Cole, Aimee Dawson, Gareth Harris,
Pablo Helguera, Kabir Jhala, Donald Lee, Ben Luke,
Hannah McGivern, Julia Michalska, Cristina Ruiz,
Emily Sharpe, Anny Shaw, José da Silva
Production editor Louis Jebb
Design James Ladbury
Sub-editing Dean Gurden, Vivienne Riddoch
Picture editors Katherine Hardy, Kabir Jhala
Photographer David Owens
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GEMMA DE ANGELIS TESTA: PHOTO: BARBARA CORSICO
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 14 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019

IN PICTURES
Expert eye

Down the rabbit hole

with KAWS
The US artist and designer Brian Donnelly, aka KAWS, has long
been an avid art collector, beginning as a young graffiti artist
trading sketch books with friends. For the past 20 years, he has
nosed around galleries buying works by his favourite artists,
including Raymond Pettibon and Robert Crumb, from dealers
such as David Zwirner. Although he did not grow up with art
at home (“unless you count paintings of the woods”) he says
“collecting was ever present, if not conscious”. His preference:
Star Wars editions from the 1970s. KAWS studied at New York’s
School of Visual Arts, “looking at
Bouguereau [during the day]
and then doing freight trains
[at night]”. So when we asked
KAWS, who is in town for his
new show, Blackout, at Skarstedt
gallery, to tour Frieze Masters
with us, a similarly eclectic mix
of works caught his eye.
Interview by Alison Cole
Photographs by
David Owens 1

1 Hilma af Klint Then you learn about Robert Crumb and

Untitled (1934)
THE GALLERY OF EVERYTHING, LONDON
“The Klint is great. You’re not going to see
another one of these at the fair. I love The
Gallery of Everything: where do you see
work like this available in private hands?
I have things I tend to lean towards, and I
go down that rabbit hole. I have been both-
ering the gallery’s director, James Brett,
about this drawing by [Josef] Kotzian, but
he just doesn’t want to sell it. The Klint is
not typical of what I collect, but I like the
airiness of it. I always find ways to justify the
things I buy.”
2 Wenzel Jamnitzer
Perspectiva. Nuremberg
(1568). First edition, from a special
collection of artists’ manuals on
perspective and human proportion
JÖRN GÜNTHER RARE BOOKS, STALDEN,
SWITZERLAND
“I love books. I don’t know if it’s from
having blackbooks or because I’ve been
lucky enough to have some artists’
sketchbooks; it’s just that real intimacy
you experience. These are amazing. I’m
currently completely immersed in thinking
about working in virtual reality, augmented
reality, and then I see something extraordi-
nary that is dated so early. The shapes are
gorgeous. I love the way the outer borders
just wrap around and go into each other,
creating a sort of infinity.”
3 Eileen Gray
Non-conformist Armchair (1925-28)
GILLES PEYROULET & CIE, PARIS
“I would have this chair in my dream
flat. It’s funny, because I love this, but
normally when I am looking at design, I
like organic furniture styles, like Wendell
Castle, who’s actually similar to [H.C.]
Westermann with his woodworking. But
this, although it was made in 1925, looks
like it’s from a spaceship. It’s the same as
looking at those earlier Renaissance books.
When I was growing up as a skateboarder,
I was thinking ‘my god, the skate graphics
of the 1980s were so ahead of their time’.
that was so ahead of its time, and then you
step back further to someone such as Basil
Wolverton in the 1950s, and you realise
how much you don’t know. This is super
graphic. I would have never encountered
something like these works in the normal
run of things. This is the benefit of walking
the fair.”
4 Keith Haring
Vase (1981)
SKARSTEDT
“This work is a great rare example of his
three-dimensional work that seems to
have no beginning and end.”
5 H.C. Westermann
Confined Murderer (1955)
VENUS OVER MANHATTAN, NEW YORK
“I got into Westermann through his water-
colours; his drawings sucked me in when
I saw Eye Infection at the Stedelijk in Am-
sterdam. I started to collect his drawings,
then I got into his sculptures. This piece is
super early. There are a few artists I have
tunnel vision with—like Westermann and
Peter Saul. The character in the sculpture
is so alone. But I also love the woodwork,
the rivets: it’s so tactile. If you turn it
upside down, you’ll find the subject writ-
ten on the base or on the back. The thing
about Westermann’s work is they’re just
so nice to handle. That’s not really reflec-
tive of my work because the last thing
I want somebody to do is touch one of
my things as they have such delicate 
surfaces…”
6 Roy Lichtenstein
Flower in Vase and
Flowers (both 1982)
CASTELLI GALLERY, NEW YORK
“These are so nice. I have a Lichtenstein
painting of a De Kooning Woman; that’s
what these feel like. They satisfy my
appreciation of the graphic line. They
would look as beautiful on a stamp as they
would on the side of a ten-storey building
block. He has that quality that can just
expand or contract.”
4
 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019 15

KAWS: COURTESY OF HONG KONG CONTEMPORARY ART FOUNDATION

5 6
16 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019

INTERVIEW
Artists

Danh Vo:
The great art
collaborator
For his sprawling new show at South London Gallery,
the Vietnam-born, Danish artist salutes all those who
have influenced and helped form his art. By Aimee Dawson

I
The artist n his latest London show, Danh Vo
has included is less an artist than he is a clever
works by his collaborator. Pulling together works by
friends, family important people in his life, such as his
and a former father, his lover and a former teacher,
professor in his the Vietnam-born, Danish artist’s first
solo exhibition major UK exhibition, Untitled, at South
London Gallery (SLG) until 24 November, feels like
a group show. “Very few people are real geniuses,”
THE ART NEWSPAPER: Why have you chosen to
name this show Untitled?
DANH VO: Years ago, I visited a cemetery in Vietnam
with my mother and was surprised to see the
words “Vô Danh” written on a number of the grave-
stones. “Vô Danh” is my name backwards plus an
accent, but it is also Vietnamese for “nameless” or
“unnamed”. It was an amazing coincidence, given
how many works of art are also untitled. I have

DANH VO: PHOTO BY NICK ASH

Vo says, “so the best approach is to embrace the
skills of those around you”. Here, we talk to the
artist about why he chose to include paintings by
the professor who told him to give up making art,
and the power of collaboration and contradiction.
called a lot of my works untitled since then.
This show at the SLG includes quite a large
number of different works that are very varied,
not just in their form but also in the stories
behind them, and the people involved in making

LONDON L AUNCH
13 -16 MAY 2020
The next generation alternative
to the traditional art fair

eyeofthecollector.com
 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019 17

them. I wanted a title that was open; one that

made space for all of these works without accentu-
ating any specific reference.

In SLG’s main gallery is a new work also

called Untitled (2019)—a series of paintings
by your former professor at the Royal Danish
Academy of Fine Arts, Peter Bonde. Why have
you chosen to include this work in your show
and why is working with collaborators so
important to your work?
The installation is really a constellation of people
who have been formative for me—drawings by
my father, photographs of my nephew by my
lover and, indeed, paintings by my former profes-
sor. I like to fuse together different dimensions of
my biography in my work that perhaps wouldn’t
naturally coincide.
Peter taught me at art school in Copenhagen
and, at the time, we did not have an easy rela-
tionship. I was not impressed by his gestural
abstract paintings, and found them old-fash-
ioned and excessive, even a bit macho. I don’t
think he appreciated my rebellious streak either.
I even have a letter from the university saying

“I like to fuse together

dimensions of my
biography that wouldn’t
naturally coincide”
that Professor Bonde strongly recommends that I
abandon making art altogether.
Of course, time has passed since then, and
there was something powerful for me when I real-
ised that I could harness the beauty of his work,
and that we could invert our former adversity and
collaborate. I am drawn to contradictions.
It is the SLG’s first solo show to span the main
gallery space and the newly renovated Fire
UNTITLED AND NOGUCHI: PHOTO BY NICK ASH
children. Plurality and hybridity are so important
in my work; I thought it was an interesting way
to approach a show, thinking about the different
spaces and sites, and different contexts changing
the way you engage with the work.
The main gallery is a huge civic space, and it
hosts the new installation Untitled, which is almost
cathedral-like in its scale and atmosphere. The
Fire Station is a series of stacked rooms of domes-
tic proportions. Margot Heller, the director of SLG,
told me that the firemen used to live there with
our respective personal collections and speaks of
our close friendship and our ongoing conversation.
You have placed a bright-red metal sculpture
by the Japanese-American sculptor Isamu
Noguchi on a nearby housing estate—why?
I encountered Noguchi’s work relatively late in life
at a show in Mexico that focused on his Playscapes—
an incredible project designed to invite children
and adults to enjoy forms, and to be creative and
play. This sculpture is very simple—it is made from

Station building—how did you take on these
two distinct spaces?
The spaces are so different; it was actually one of
the things that attracted me to the invitation from
the SLG. The show not only has the two build-
ings of exhibition spaces, but also includes com-
missions on neighbouring housing estates, one
open air and one in Art Block, a space for local
their families and I was interested by that sense
of intimacy. Each gallery is a much closer experi-
ence of a suite of interconnected works and each
has a distinct feel: for example, I have installed
walnut wood panelling in one gallery, a wallpaper
edition in another. The gallery on the third floor is
dedicated to my friend and mentor Julie Ault. The
selection of works in that space are largely from
six elbow pipes connected together and sprayed
red—but it is so perfect in its form that I did not see
how I could add to or improve it in any way. So I
felt the strongest gesture was to lend my edition of
the work to the people living on the Pelican Estate,
so they can sit on, climb on and play with the work.
• Danh Vo: Untitled, South London Gallery, until
24 November
From top: Installation view of Danh Vo’s
Untitled at the South London Gallery; the artist
has loaned his edition of Isama Noguchi’s
Play Sculpture to the people of the Pelican
Estate, in Peckham, south-east London

ANTONIO
CANOVA

Ufficio culturale Ambasciata di Israele - Roma

robilantvoena.com
Courtesy Cerith Wyn Evans.
Viewing in New York 5 - 7 November by appointment at
The Official Residence of the Consulate General of Sweden
600 Park Avenue, New York, NY 10065

Contact: Magnus Bexhed +46 705 22 12 04

bexhed@uppsalaauktion.se www.uppsalaauktion.se

ANDY WARHOL (1928-1987) “Absolut Warhol”. Signed Andy Warhol 1985. Acrylic and silkscreen ink on canvas, 127.5 x 107 cm.
Estimate: € 1.400.000 - 1.900.000. To be sold at the Important Sale Week 10 - 13 December in Sweden.

Viewing in New York 5 - 7 November

Andy Warhol
Albert Oehlen S P I EG EL B I L D ER
Galerie Max Hetzler Berlin | Paris | London
27 September – 16 November 2019
41 Dover St., 1st Floor, London, W1S 4NS
maxhetzler.com
Als hätte man mir die Muschel rausgedreht II, 1982 © Alber t Oehlen
5 November – 21 December 2019
980 Madison Ave., 3rd Floor, New York, NY 10075
nahmadcontemporary.com
 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019 21

CALENDAR
Frieze week
○ Auctions
FRIDAY 4 OCTOBER
SOTHEBY’S
10:30AM Contemporary art day sale
34-35 New Bond Street, W1A 2AA
CHRISTIE’S
7PM Post-war/contemporary evening sale
8PM Thinking Italian
8 King Street, SW1Y 6QT
SATURDAY 5 OCTOBER
CHRISTIE’S
1pm Post-war/contemporary day sale
8 King Street, SW1Y 6QT

• Listings are arranged

alphabetically by area (central,
north, east, south and west)
• Commercial galleries are
marked with W

○ Central London
Barbican
Silk Street, EC2Y 8DS
• Into the Night: Cabarets and Clubs in Modern Art
4 OCTOBER-19 JANUARY 2020 Self-Portrait (1642) and A Woman in Bed (1645-6), part of 35 paintings, etchings and drawings by Rembrandt van Rijn on display at the Dulwich Picture Gallery until 4 February
• Trevor Paglen: from Apple to Anomaly
UNTIL 16 FEBRUARY 2020
British Museum
Great Russell Street, WC1B 3DG
• Portrait of the Artist: Käthe Kollwitz
UNTIL 12 JANUARY 2020
Foundling Museum
Hollywood lights up show on
REMBRANDT SELF PORTRAIT: © HER MAJESTY QUEEN ELIZABETH II 2018; COURTESY OF ROYAL COLLECTION TRUST/DUTCH PICTURES. WOMAN IN BED: PHOTO: ANTONIA REEVE; COURTESY OF NATIONAL GALLERIES OF SCOTLAND

Dutch master in south London

40 Brunswick Square, WC1N 1AZ
• Two Last Nights!
UNTIL 5 JANUARY 2020
House of Illustration
2 Granary Square, N1C 4BH
• Designed in Cuba: Cold War Graphics
UNTIL 19 JANUARY 2020 the gap between painting and systems in museums such as the
Institute of Contemporary Arts (ICA) Cinematographer Suschitzky brings a film- film-making”. Suschitzky, for his Hamburg Kunsthalle and the Louvre
12 Carlton House Terrace, The Mall, SW1Y 5AH part, says: “I have been inspired by Abu Dhabi.
• Honey-Suckle Company: Omnibus industry sensibility to the Dulwich Picture the work of the greatest Old Masters The show is divided into four
UNTIL 12 JANUARY 2020 throughout my life… Rembrandt sections. The first shows the interac-
• Untitled (The Form of the Flower
Gallery for its new exhibition on Rembrandt seems to me to have been striving tions of contemporary theatre and
is Unknown to the Seed) to find a universal truth in the Rembrandt’s control of light, as in
UNTIL 6 JUNE 2020 human condition, and used light The Denial of St Peter (1660).
Korean Cultural Centre UK Rembrandt’s Light aforementioned comedy musical, to create motion and emotion. This The second explores the ways
Grand Buildings, 1-3 Strand, WC2N 5BW Dulwich Picture Gallery The Rocky Horror Picture Show (1975), parallels cinematography, where in which studio light and shade
• Negotiating Borders 4 OCTOBER-2 FEBRUARY 2020 the sci-fi action and adventure sculpting light and directing the in the artist’s house in Breestraat,
UNTIL 23 NOVEMBER picture, Star Wars: The Empire Strikes gaze of the viewer to the desired Amsterdam, where he lived from
Museum of London LONDON. What do Rembrandt Back (1980), the comedy sci-fi film, place in an image is essential for 1639 to 1658 during his so-called
150 London Wall, EC2Y 5HN and the cult classic film The Mars Attacks! (1996) and no fewer powerful storytelling.” “middle period”, affected his depic-
• Beasts of London Rocky Horror Picture Show have in than 11 films for the Canadian film- The exhibition presents 35 tions of night and day, for example,
UNTIL 7 JANUARY 2020 common? The answer, at least at the maker, David Cronenburg, including paintings, etchings and drawings in his only nocturnal painting,
National Portrait Gallery Dulwich Picture Gallery, is the the horror movie, Dead Ringers (1988). by Rembrandt, some on loan from Landscape with the Rest on the Flight
St Martin’s Place, WC2H 0HE award-winning Hollywood cine- Jennifer Scott, the newly museums such as the Louvre in into Egypt (1647).
• BP Portrait Award matographer Peter Suschitzky. appointed director of the Dulwich Paris (The Pilgrims at Emmaus, 1648), Religious and intellectual
UNTIL 20 OCTOBER To mark the 350th anniversary Picture Gallery, approached the National Gallery of Art in paintings make up the third section,
• Elizabeth Peyton: Aire and Angels of Rembrandt’s death, the gallery Suschitzky for this project because Washington, DC (Philemon and Baucis, which displays works showing how
UNTIL 5 JANUARY 2020 has invited Suschitzky to devise “his extensive experience bridges 1658) and Berlin’s Gemäldegalerie Rembrandt created moods symbol-
Royal Academy of Arts “an atmospheric visitor experience” (The Dream of Joseph, 1645). The ically and psychologically in, for
Burlington House, Piccadilly, W1J 0BD for its latest exhibition, Rembrandt’s works are arranged thematically example, Christ and St Mary Magdalen
• Helene Schjerfbeck Light, which sets out to explore “Suschitzky to trace Rembrandt’s use of light at the Tomb (1638).
UNTIL 27 OCTOBER
• Antony Gormley
how the artist used light to convey
different moods.
bridges the gap and shadow, and Suschitzky has
designed a new LED Bluetooth light-
The final gallery explores his use
of light in portraying women, such
UNTIL 3 DECEMBER
Royal Institute of British
Suschitzky (b. 1941) was respon-
sible for the overall visual styles
between painting ing system in collaboration with the
German lighting specialists, ERCO—
as in the painting A Woman in Bed
(around 1645-46).
Architects (RIBA) of such well-known films as the and film-making” the firm responsible for the lighting Donald Lee

 CONTINUED ON PAGE 22

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 22 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019

CALENDAR
Frieze week
 CONTINUED FROM PAGE 21 • Michael Simpson: New Paintings
UNTIL 16 NOVEMBER
66 Portland Place, W1B 1AD WCortesi Gallery
• Beyond Bauhaus 41 & 43 Maddox Street, W1S 2PD
UNTIL 1 FEBRUARY 2020 • Giuseppe Santomaso: Animate Painting
• László Moholy-Nagy in Britain UNTIL 26 OCTOBER
UNTIL 1 FEBRUARY 2020 • Heinz Mack: The Breath of Light
Somerset House UNTIL 15 NOVEMBER
Strand, WC2R 1LA WCristea Roberts Gallery
• Water Life by Aida Muluneh 43 Pall Mall, SW1Y 5JG
UNTIL 20 OCTOBER • The Interaction of Colour
• Mary Sibande: I Came UNTIL 26 OCTOBER
Apart at the Seams WDavid Gill Galleries
UNTIL 5 JANUARY 2020 2-4 King Street, SW1Y 6QP
• Gallery 31: Bonds • Sebastian Brajkovic
UNTIL 5 JANUARY 2020 UNTIL 17 OCTOBER
Tate Britain WDavid Zwirner
Millbank, SW1P 4RG 24 Grafton Street, W1S 4EZ
• Mike Nelson: The Asset Strippers • Nate Lowman
UNTIL 6 OCTOBER UNTIL 9 NOVEMBER
• Spotlights: The Bauhaus and Britain WFlowers, Cork Street
UNTIL 17 NOVEMBER 21 Cork Street, W1S 3LZ
• Mark Leckey • Robert Polidori: Fra Angelico/
UNTIL 5 JANUARY 2020 Opus Operantis
• William Blake UNTIL 12 OCTOBER
UNTIL 2 FEBRUARY 2020 WFrith Street Gallery,
The Arts Club Golden Square The Great Animal Orchestra (2016) features audio recordings from an archive of more than 5,000 hours that spans five decades
40 Dover Street, W1S 4NP 17-18 Golden Square, W1F 9JJ
• Etel Adnan and Illse D’Hollander • Danyanita Singh
UNTIL 1 JANUARY 2020
The Perimeter
20 Brownlow Mews, WC1N 2LE
UNTIL 9 NOVEMBER
WGagosian, Britannia Street
6-24 Britannia Street, WC1X 9JD
Things that go screech on the Strand
• Ron Nagle • Sterling Ruby: ACTS + TABLE Other Spaces than 5,000 hours of recordings collected orchestrated as humanity’s most complex
UNTIL 10 JANUARY 2020 UNTIL 14 DECEMBER The Store X, 180 The Strand, WC2R 1EA over the past 50 years. A collaboration musical scores”. Electronic spectrograms,
The Photographers’ Gallery WGagosian, Davies Street UNTIL 9 DECEMBER  between United Visual Artists (UVA) and created by UVA, provide abstract visual
16-18 Ramillies Street, WC2 7HY 17-19 Davies Street, W1K 3DE The Store X in partnership with The the US musician and naturalist Bernie interpretations of the natural
• Heather Dewey Hagborg • Cy Twombly Shop Vinyl Factory is showing a trio of Krause, the piece is being presented in environments represented. “It is rare for
UNTIL 14 NOVEMBER UNTIL 21 DECEMBER immersive installations including the UK conjunction with the Fondation Cartier in the visual element of a work to be
• Raúl Cañibano: Chronicles of an Island WGagosian, Grosvenor Hill premiere of The Great Animal Orchestra Paris where it debuted. Each screech, secondary to its audio; we have turned the
UNTIL 17 NOVEMBER 20 Grosvenor Hill, W1K 3QD (2016), an audio-visual work consisting of chirp and mating call merges into a typical museum installation model on its
The Queen’s Gallery • Cy Twombly Sculpture animal noises from an archive of more bio-acoustic piece that “is as carefully ear,” Krause says. K.J.
Buckingham Palace Road, SW1A 1AA UNTIL 21 DECEMBER
• Leonardo da Vinci: a Life in Drawing WGalerie Kamel Mennour
UNTIL 13 OCTOBER 51 Brook Street, W1K 4HR
The Store, 180 The Strand • Neïl Beloufa WLévy Gorvy • Song Dong: Same Bed Different Dreams • Francesco Arena
180 The Strand, WC2R 1EA UNTIL 2 NOVEMBER 22 Old Bond Street, W1S 4PY UNTIL 5 NOVEMBER UNTIL 15 NOVEMBER
• Other Spaces by United Visual Artists WGalerie Max Hetzler • Ride the Wild WParafin WSprüth Magers ○ North London
UNTIL 8 DECEMBER 41 Dover Street, W1 4NS UNTIL 7 DECEMBER 18 Woodstock Street, W1C 2AL 7A Grafton Street, W1S 4EJ
• Transformer: a Rebirth of Wonder • Albert Oehlen: Spiegelbilder WLuxembourg & Dayan • Nathan Coley • Kara E. Walker Aga Khan Centre
UNTIL 8 DECEMBER UNTIL 16 NOVEMBER 2 Savile Row, W1S 3PA UNTIL 16 NOVEMBER UNTIL 21 DECEMBER 10 Handyside Street, Kings Cross, N1C 4DN
• Theaster Gates WGalerie Thaddaeus Ropac • Reconstructing Cézanne WPilar Corrias WStephen Friedman Gallery • Bahia Shehab: At a Corner of a Dream
4-27 OCTOBER Ely House, 37 Dover Street, W1S 4NJ UNTIL 7 DECEMBER 54 Eastcastle Street, W1W 8EF 25-28 Old Burlington Street, W1S 3AN UNTIL 5 JANUARY
Wellcome Collection • James Rosenquist WLyndsey Ingram • Tschabalala Self • Jonathan Baldock: Personae Ben Uri Gallery
183 Euston Road, NW1 2BE UNTIL 9 NOVEMBER 20 Bourdon Street, W1K 3PL UNTIL 9 NOVEMBER UNTIL 9 NOVEMBER 108a Boundary Road, NW8 0RH
• Jo Spence and Oreet Ashery WGazelli Art House • Bridget Riley-Lines of Enquiry WPippy Houldsworth Gallery WStuart Shave/Modern Art • Friends and Influences
UNTIL 26 JANUARY 2020 39 Dover Street, W1S 4NN UNTIL 8 NOVEMBER 2019 6 Heddon Street, W1B 4BT 4-8 Helmet Row, EC1V 3QJ UNTIL 18 OCTOBER
WAlison Jacques • Derek Boshier: Night and Snow WM&L Fine Art • Francesca DiMattio: Caryatid • Richard Aldrich Camden Arts Centre
16-18 Berners Street, W1T 3LN 4 OCTOBER-10 NOVEMBER First Floor, 15 Old Bond Street, W1S 4AX UNTIL 19 OCTOBER UNTIL 19 OCTOBER Arkwright Road, NW3 6DG
• Betty Parsons: The Queen of the Circus WGoodman Gallery • Max Ernst WRedfern Gallery WT.J. Boulting • Christodoulos Panayiotou
UNTIL 9 NOVEMBER 26 Cork Street, W1S 3ND UNTIL 29 NOVEMBER 20 Cork Street, W1S 3HL 59 Riding House Street, W1W 7EG UNTIL 5 JANUARY 2020
WAlmine Rech Gallery • I’ve Grown Roses in This Garden of Mine WMarian Goodman Gallery • Large Abstracts • Birth Estorick Collection
Grosvenor Hill, Broadbent House, UNTIL 2 NOVEMBER 5-8 Lower John Street, W1F 9DY UNTIL 4 OCTOBER 2019 UNTIL 7 NOVEMBER 39a Canonbury Square, N1 2AN
W1K 3JH WGrosvenor Gallery • Danh Vo: Cathedral Block, WRichard Saltoun WThe Mayor Gallery • Umberto Boccioni
• Claire Tabouret: Portraits 35 Bury Street, St. James’s, W1S 4JF Prayer Stage, Gun Stock 41 Dover Street, W1S 4NS 21 Cork Street, First Floor, W1S 3LZ UNTIL 22 DECEMBER
UNTIL 16 NOVEMBER • Wardha Shabbir: In a Free State UNTIL 1 NOVEMBER • Feminism in Italian Contemporary Art • Carlos Cairoli Freelands Foundation
WAmanda Wilkinson UNTIL 18 OCTOBER WMarlborough Fine Art UNTIL 9 NOVEMBER UNTIL 9 OCTOBER 113 Regent’s Park Road, NW1 8UR
8 Brewer Street, W1F 0SH WHauser & Wirth, Savile Row 6 Albemarle Street, W1S 4BY WRonchini Gallery WThomas Dane Gallery • Teaching Painting: Fully Awake 5.6
• Julia Dubsky: The Marshland Akimbo 23 Savile Row, W1S 2ET • Jonah Freeman and Justin 22 Dering Street, W1S 1AN 3 & 11 Duke Street, SW1Y 6BN UNTIL 3 NOVEMBER
UNTIL 26 OCTOBER • Mark Bradford Cerberus Lowe: Colony Sound • Conrad Marca-Relli • Luigi Ghirri: Colazione sull’Erba Parasol Unit
WAnnely Juda Fine Art UNTIL 21 DECEMBER UNTIL 19 OCTOBER 5 OCTOBER-21 DECEMBER UNTIL 16 NOVEMBER 14 Wharf Road, N1 7RW
Fourth floor, 23 Dering Street, W1S 1AW WHerald St, Museum St WMassimo De Carlo WSadie Coles HQ WTimothy Taylor • Rayyane Tabet: Encounters
• Utopia/Dystopia Revisited 43 Museum Street, WC1A 1LY 55 South Audley Street, W1K 2QH 1 Davies Street, W1K 3DB 15 Bolton St, W1J 8BG UNTIL 14 DECEMBER
UNTIL 2 NOVEMBER • Sanou Oumar • White: Work • Alvaro Barrington • Simon Hantaï, Pierre Soulages Zabludowicz Collection
• Suzanne Treister UNTIL 26 OCTOBER UNTIL 16 NOVEMBER UNTIL 26 OCTOBER and Antoni Tàpies 176 Prince of Wales Road, NW5 3PT
UNTIL 2 NOVEMBER WHollybush Gardens WMazzoleni WSadie Coles HQ, Kingly Street UNTIL 19 OCTOBER • 360: Rebecca Allen
WArcadia Missa 1-2 Warner Yard, EC1R 5EY 27 Albemarle Street, W1S 4HZ 62 Kingly Street, W1B 5QN WTornabuoni Art UNTIL 20 OCTOBER
First floor, 14-16 Brewer Street, W1F 0SG • Andrea Büttner: The Heart of Relations • Hans Hartung and Art Informel • Co Westerik 46 Albemarle Street, W1S 4JN • Puck Verkade
• Frieda Toranzo Jaeger: UNTIL 14 DECEMBER UNTIL 18 JANUARY 2020 UNTIL 2 NOVEMBER • Alighiero Boetti: Works on Paper UNTIL 20 OCTOBER
Fantasies of Autonomy WJack Bell Gallery WMichael Werner Gallery WSimon Lee Gallery UNTIL 8 JANUARY 2020 • Shana Moulton
UNTIL 26 OCTOBER 13 Mason’s Yard, SW1Y 6BU 22 Upper Brook Street, W1K 7PZ 12 Berkeley Street, W1J 8DT WVictoria Beckham UNTIL 15 DECEMBER
WBASTIAN Gallery • Lavar Munroe: Strangers in the Night • Peter Doig: Painting • Clare Woods: Doublethink 36 Dover Street, W1S 4NH WLisson Gallery
8 Davies Street, W1K 3DW UNTIL 8 OCTOBER 2019 UNTIL 16 NOVEMBER UNTIL 6 OCTOBER • Andy Warhol: Sotheby’s 67 Lisson Street, NW1 5DA
• Joseph Beuys WJD Malat Gallery WOctober Gallery WSkarstedt Gallery Selling Exhibition • Stanley Whitney: Afternoon Paintings
UNTIL 16 NOVEMBER 30 Davies Street, W1K 4NB 24 Old Gloucester Street, WC1N 3AL 8 Bennet Street, SW1A 1RP UNTIL 4 OCTOBER UNTIL 2 NOVEMBER
WBeaux Arts Gallery • Shiny Colourful Amusements • Life Through Extraordinary Mirrors • KAWS: Blackout WVictoria Miro Mayfair WLisson Gallery
48 Maddox Street, W1S 1AY for the Walls of the Bourgeoisie: UNTIL 23 NOVEMBER UNTIL 9 NOVEMBER 14 St George Street, W1S 1FE 27 Bell Street, NW1 5BY
• Four Giants of British Modernism Robert Montgomery WOlivier Malingue Gallery WSoft Opening • Grayson Perry • Ai Weiwei: Roots
UNTIL 19 OCTOBER UNTIL 2 NOVEMBER 2019 143 New Bond Street, W1S 2TP Picadilly Circus Underground, W1J 9HP UNTIL 20 DECEMBER UNTIL 2 NOVEMBER
WBen Brown Fine Arts WJohn Martin Gallery • L’Empreinte • Four Courtroom Outfits of Anna Delvey WVigo Gallery WPark Village Studios
12 Brook’s Mews, W1K 4DG 38 Albemarle Street, W1S 4JG UNTIL 13 DECEMBER UNTIL 24 NOVEMBER 21 Dering Street, W1S 1AL 1 Park Village East, Regents Park, NW1 7PX
• Enoc Perez: the Cinematic Self • Ed Kluz: Facades WOmer Tiroche Gallery WSotheby’s S2 Gallery • Biggs & Collings • Karsten Schubert: Dialectical
UNTIL 22 NOVEMBER UNTIL 5 OCTOBER 21 Conduit Street, W1S 2XP 31 St George Street, W1S 2FJ UNTIL 1 APRIL 2020 Materialism: Aspects of British
WBernard Jacobson Gallery WJosh Lilley • Fractures: Esti Drori Hayut • Huang Rui: Wild Children WWaddington Custot Sculpture Since the 1960s
28 Duke Street, SW1Y 6AG 40-46 Riding House Street, W1W 7EX UNTIL 8 OCTOBER UNTIL 14 NOVEMBER 11 Cork Street, W1S 3LT UNTIL 6 OCTOBER
OTHER SPACES: © PHOTO: JACK HEMS

• Some of the Artists I Have Worked For • Derek Fordjour: The House Always Wins WOzwald Boateng WSouthard Reid • Patrick Caulfield WVictoria Miro
UNTIL 5 OCTOBER 4 OCTOBER-16 NOVEMBER 30 Savile Row, W1S 3PT 7 Royalty Mews, W1D 3AS UNTIL 15 NOVEMBER 16 Wharf Road, N1 7RW
WBlain|Southern WKarnik Gallery • Crossroads by Youssouf Sogodogo • Ann Craven WWhite Cube • Rock My Soul
4 Hanover Square, W1S 1BP 4 Mason’s Yard, SW1Y 6DB UNTIL 18 OCTOBER UNTIL 2 NOVEMBER 25-26 Mason’s Yard, SW1Y 6BU UNTIL 2 NOVEMBER
• Henning Strassburger: Karma Mansion • Resonance X Relevance WPace Gallery WSprovieri • Damien Hirst: Mandalas • Doug Aitken: Return to the Real
UNTIL 16 NOVEMBER UNTIL 20 OCTOBER 6 Burlington Gardens, W1S 3ET 23 Heddon Street, W1B 4BQ UNTIL 2 NOVEMBER UNTIL 20 DECEMBER
 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019 23

50-58 Vyner Street, E2 9DQ • John Squire: Disinformation

• Michael E. Smith UNTIL 10 NOVEMBER
○ East London UNTIL 14 DECEMBER • Reason Gives No Answers
WThe Approach UNTIL 10 NOVEMBER
Autograph 1st Floor, 47 Approach Road, E2 9LY South London Gallery
Rivington Place, EC2A 3BA • Mike Silva: New Paintings 65-67 Peckham Road, SE5 8UH
• Lina Iris Viktor  UNTIL 20 OCTOBER • Danh Vo
UNTIL 25 JANUARY 2020 • Maria Pinińska-Bereś: Living Pink UNTIL 24 NOVEMBER
Chisenhale Gallery UNTIL 20 OCTOBER Studio Voltaire
64 Chisenhale Road, E3 5QZ WUnion Pacific 1a Nelson’s Row, SW4 7JR
• Sidsel Meineche Hansen 17 Goulston Street, E1 7TP • Mary Reid Kelley and Patrick Kelley
UNTIL 8 DECEMBER • Theodoros Giannakis UNTIL 6 OCTOBER
Whitechapel Gallery UNTIL 26 OCTOBER Tate Modern
77-82 Whitechapel High Street, E1 7QX Bankside Power Station, 25
• Anna Maria Maiolino Sumner Street, SE1 9TG
UNTIL 12 JANUARY 2020 • Takis
AIR DE PARIS Grand Opening
• Fluxus Music, Scores and Records ○ South London UNTIL 27 OCTOBER FONDATION FIMINCO October 20, 2019
in the Luigi Bonotto Collection • Olafur Eliasson GALERIE SATOR
UNTIL 1 FEBRUARY 2020 Bermondsey Project Space UNTIL 5 JANUARY 2020
43 rue de la Commune
WCarlos/Ishikawa 183-185 Bermondsey Street, SE1 3UW • Hyundai Commission: Kara Walker
GALERIE JOCELYN WOLFF
Unit 4, 88 Mile End Road, E1 4UN • Alexandro Pelaez UNTIL 5 APRIL 2020 IN SITU FABIENNE LECLERC de Paris—
• Oscar Murillo: Trades Hall & Institute UNTIL 12 OCTOBER • Dóra Maurer JEUNE CRÉATION —à Romainville
UNTIL 19 OCTOBER Copeland Gallery UNTIL 5 JULY 2020 93230
WFlowers, Kingsland Road 133 Copeland Road, SE15 3SN WAuto-Italia
82 Kingsland Road, E2 8DP • Seeing Sounds with 434-452 Old Kent Road, SE1 5AG
& FRAC ÎLE-DE-FRANCE/
• Julie Cockburn: Telling it Slant House of African Art • Army of Love LES RÉSERVES (Prelude) komunuma.com
UNTIL 2 NOVEMBER UNTIL 7 OCTOBER 4 OCTOBER-8 DECEMBER
WHales Drawing Room WCecilia Brunson Projects
7 Bethnal Green Road, E1 6LA Unit 8 Rich Estate, 46 Willow Walk, SE1 5SF Royal Oak Yard, Bermondsey
• Hew Locke: Where Lies the Land? • Marc Bauer, Mal Être/Performance Street, SE1 3GD
UNTIL 9 NOVEMBER UNTIL 17 NOVEMBER • Feliciano Centurión: I Am Awake
WHerald St Gallery, Herald St Dulwich Picture Gallery UNTIL 27 OCTOBER
2 Herald Street, E2 6JT Gallery Road, SE21 7AD WCorvi-Mora
• Trix and Robert Haussman • Rembrandt’s Light 1A Kempsford Road, SE11 4NU
UNTIL 1 DECEMBER 4 OCTOBER-2 FEBRUARY 2020 • Lynette Yiadom-Boakye
WKate MacGarry Gasworks UNTIL 26 OCTOBER
27 Old Nichol Street, E2 7HR 155 Vauxhall Street, The Oval, SE11 5RH WDanielle Arnaud Gallery
• Goshka Macuga • Kudzanai-Violet Hwami 123 Kennington Road, SE11 6SF
UNTIL 19 OCTOBER UNTIL 15 DECEMBER • David Cotterrell: truth.lie.lie
WL’étrangère Goldsmiths Centre for UNTIL 12 OCTOBER
44a Charlotte Road, EC2A 3PD Contemporary Art (CCA) WGreengrassi
• Joanna Rajkowska St James’ New Cross, SE14 6AD 1a Kempsford Road, SE11 4NU
UNTIL 31 OCTOBER • Tony Cokes: TV Works, 1960-80s • Moyra Davey
WMaureen Paley UNTIL 12 JANUARY 2020 UNTIL 26 OCTOBER
21 Herald Street, E2 6JT Hayward Gallery WHannah Barry Gallery
• Liam Gillick: The Night of Red and Gold Southbank Centre, Belvedere 4 Holly Grove, SE15 5DF
UNTIL 17 NOVEMBER Road, SE1 8XX • Jean Feline, Merve Işeri, Lara Ögel
WMother’s Tankstation Project • Thabiso Sekgala: Here Is Elsewhere UNTIL 2 NOVEMBER
58-64 Three Colts Lane, E2 6GP UNTIL 6 OCTOBER WJGM Gallery
• Yuri Pattison Horniman Museum and Gardens 24 Howie Street, SW11 4AY
UNTIL 14 DECEMBER 100 London Road, Forest Hill, SE23 3PQ • Island by Alice Wilson
WProject Native Informant • Turn it Up: On Paradoxes UNTIL 2 NOVEMBER
Dressage Court, 58-64 Three UNTIL 21 JUNE WThe Sunday Painter
Colts Lane, E2 6GP Imperial War Museum 117-119 South Lambeth Road, SW8 1XA
• Gubbinal Lambeth Road, SE1 6HZ • Dalton Gata: The Gaze is Downstairs
UNTIL 2 NOVEMBER • Rebel Sounds UNTIL 2 NOVEMBER
WSeventeen UNTIL JANUARY 2020 WWhite Cube, Bermondsey
270-276 Kingsland Road, E8 4DG • Art in Exile 144-152 Bermondsey Street, SE1 3TQ
• Rhys Coren: Shape of Story UNTIL 5 JANUARY 2020 • Mona Hatoum: Remains to be Seen
UNTIL 26 OCTOBER Jerwood Space UNTIL 3 NOVEMBER
WSoft Opening 171 Union Street, SE1 OLN • Dóra Maurer
4 Herald Street, E2 6JT • Jerwood Collaborate! UNTIL 3 NOVEMBER
• Kira Freije UNTIL 15 DECEMBER
UNTIL 20 OCTOBER Newport Street Gallery
WStuart Shave/Modern Art Newport Street, SE11 6AJ
○ West London
Design Museum
Satellite fairs 224-238 Kensington High Street, W8 6AG
• Beazley Designs of the Year
1:54 Contemporary UNTIL 9 FEBRUARY 2020
African Art Fair Mosaic Rooms
Somerset House, WC2R 1LA 226 Cromwell Road, SW5 0SW
UNTIL 6 OCTOBER • Praneet Soi: Anamorphosis
UNTIL 7 DECEMBER
British Art Fair Pitzhanger Manor & Gallery
Saatchi Gallery, Duke of Mattock Lane, W5 5EQ
York’s HQ, King’s Rd, Chelsea, • Es Devlin: Memory Palace
London SW3 4RY UNTIL 12 JANUARY 2020
UNTIL 6 OCTOBER Serpentine Gallery
Kensington Gardens, W2 3XA
Decorative Antiques • Albert Oehlen
and Textiles Fair Alice Mann’s Keisha Ncube UNTIL 2 FEBRUARY 2020
Battersea Park, SW11 4NJ (2017), on view at 1:54 Serpentine Sackler Gallery
UNTIL 6 OCTOBER Contemporary African Art Fair West Carriage Drive, W2 2AR
• Luchita Hurtado
Moniker Art Fair UNTIL 20 OCTOBER 2019
The Chelsea Sorting Office, Victoria and Albert
90-100 Sydney Street, SW3 6NJ Museum (V&A)
ALICE MANN: COURTESY OF THE ARTIST AND AFRONOVA GALLERY

UNTIL 6 OCTOBER Roy’s Art Fair Cromwell Road, SW7 2RL

The Old Truman Brewery, • Food: Bigger than the Plate
Other Art Fair 91 Brick Lane, E1 5QL UNTIL 20 OCTOBER 2019
Victoria House, Southampton UNTIL 6 OCTOBER • Mary Quant
Row, WC1B 5HR UNTIL 16 FEBRUARY 2020
UNTIL 6 OCTOBER Sunday Art Fair • Tim Walker: Wonderful Things
Ambika P3, University of UNTIL 8 MARCH 2020
PAD London Westminster, 35 Marylebone WMichael Hoppen Gallery
Berkeley Square, W1 Road, NW1 5LS 3 Jubilee Place, SW3 3TD
UNTIL 6 OCTOBER UNTIL 6 OCTOBER • Autumn Exhibition
UNTIL 14 OCTOBER 2019
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FRIEZESCOPE: Water signs
Our resident mystic looks to the stars to help you navigate Frieze week
MARGARET CARRIGAN: © K.G. WASSUS. JUDY CHICAGO: PHOTO: DONALD WOODMAN. ANGELICA KAUFFMANN: COURTESY UFFIZI GALLERY. ANISH KAPOOR: MARK THOMAS/ALAMY STOCK PHOTO.
Margaret Carrigan (aka Mystic Mag)
Governed by the
element of emotion,
water signs often
swim between dreams
and reality. The
first half of October
is mostly free of
challenging planetary
transits, so allow
yourself to paddle
in the pools of
your subconscious
 LOOK FOR THE OTHER ZODIAC
SIGNS, BROKEN DOWN BY RULING
ELEMENT, IN THE NEXT DAILY EDITION
THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019 25
Cancer (21 June-22 July) Scorpio (23 October-21 November)
The first week of October is all about
endings for you, Scorpio. That’s because
the sun, Mercury and Venus are all
moving from the 12th and last house of the zodiac
wheel into the first house of self around 4 October.
It is a good time to re-evaluate who and what
you want to support before your birthday season
arrives later in the month, initiating a new year for
you. You might feel a little burned by what comes
to an end now, like Gail’s running out of sausage
rolls. But rest assured that it’s ultimately not that
big of a deal and probably for the best. 
Scorpio artists: Annibale Carracci, Nikki de Saint Phalle,
Angelica Kauffman
Scorpio Angelica Kauffman’s birthday is approaching
As Frieze week unfolds,
Pisces (19 February-20 March) there is a lot of plan-
etary activity in your
eighth house of intimacy and
partnerships. This is great for
Pisceans, who love to feel deeply
connected to someone to the point
of occasional obsession. At the
same time, your ruling planet is in
the first house of self, so beware
Judy Chicago takes a typically Cancerian sideways approach to the world
that you are not pushing your own
The first week of October sees your fourth house of home,
family and self-care lit up, with Mercury, Venus and the sun
agenda onto others in the blind
belief that they want the same
all resting in there. Wanting to stay home and navel gaze is thing. See Boris Johnson’s govern-
pretty on brand for you, dear crab, as your tough outer shell belies ment for a cautionary tale. 
a tender soul. Rambunctious Mars, however, is stirring things up Pisces artists: Alberto Burri, Rosa
in your third house of social networking until 5 October: perhaps Bonheur, Anish Kapoor
you bonded with colleagues over JR’s redesign of The Art Newspaper
masthead. That comradery will come in handy when the sun moves
into Scorpio later and you feel extra emotional. Anish Kapoor: Pisceans are
Cancer artists: Edward Hopper, Judy Chicago, Wangechi Mutu often keen to connect
 26 THE ART NEWSPAPER FRIEZE FAIR EDITION 4 OCTOBER 2019

DIARY
Frieze Week
Mad about the Boy
Ai Weiwei goes window shopping
Ai Weiwei was spotted
browsing his favourite
Frieze Masters stand: Galerie
Gisèle Croës from Brussels,
which specialises in Chinese
arts spanning some 3,000
years. The piece that especial-
ly caught his eye was a white
marble head of Boddhisattva
dating from the Northern Qi
Party people: Goodman Gallery visitors Dynasty, when the Chinese
get into the groove at the inaugural show started to make Buddhist
statues under Indian influ-
ence. But while Ai admired
Goodman gets a shift on the “sincerity of the lines”
and compared the “enigmatic
Johannesburg’s Goodman Gallery can claim curves” of the lips to the Mona
a new (art) world record—turning an empty Lisa, he did not make a pur-
Mayfair venue into a swanky emporium in chase. Perhaps his new home
the fastest time possible. The great and the in Cambridge lacks the space
good of London’s art world, including artists for acquisitions? To hear more
Yinka Shonibare and Lisa Brice, descended about Ai’s own work and his
on the gallery’s new space earlier this week view of the unfolding events
to ponder the inaugural show I’ve grown in Hong Kong, the Amazon Everything stops for tea: Boy George brewed
roses in this garden of mine (until 2 Novem- and here in pre-Brexit Britain, up some hot sounds at the Arts Club
ber). An eminent art critic who shall remain tune in to our podcast inter-
nameless was in awe of the transformation. view airing today. He may have been sipping daintily from a teacup
“I walked past last night and this was largely rather than partaking of anything more powerful, but
empty,” he exclaimed. Boy George showed that he had lost none of his ability
Ai Weiwei was seen to get a dance floor heaving when he DJed to a packed
pondering whether this crowd at the Arts Club party on Wednesday. Revellers
marble Boddhisattva head carousing against a backdrop of palm trees and large-
might look good on his scale artworks by Etel Adnan included designer Henry
Here comes Barbie-rella Cambridge coffee table Holland, artists Rana Begum and Conrad Shawcross,

AI WEIWEI: ALISON COLE. GRAYSON PERRY, BOY GEORGE: COURTESY LOUISA BUCK. THORNTON DIAL: COURTESY CHRISTIE’S JANE FONDA: WIKICOMMONS. GOODMAN GALLERY: ©NICK HARVEY 2019
gallerists Harry Blain and Vito Schnabel, Frieze Projects
curator Diana Campbell Betancourt and Dhaka Art
Summit patrons Nadia and Rajeeb Samdani, all of
whom showed off their ability to throw some shapes in
the middle of Frieze Week.

Artoon by Pablo Helguera Alan Measles reports

Thornton Dial’s Trophies (Doll
Factory) caught Jane Fonda’s eye
Who knew that Jane Fonda collects in-your-
face contemporary art? The superstar actress
has consigned an eye-popping work by the
late Thornton Dial, Trophies (Doll Factory)
(1999), to Christie’s post-war and contempo-
rary auction tonight. The assemblage—esti-
mated at £160,000 to £200,000—is dotted
with Barbie dolls, stuffed animals and plastic
toys. Fonda explains in a recent film why the
provocative piece appeals. “It’s really about
how women are trying to prove that they’re
not just objects but that they’re
strong. The minute I saw
it, I said ‘Barbarella’,” she
says, referring to the
1968 kitsch epic film in
which she played a feisty,
feminist space adventurer.
Girl Power.
“I’ve decided I will be a pioneering artist—
so I have started making early video art.”
for charitable duty
Grayson Perry may be satirising the hand that
feeds him with his show Super Rich Interior
Decoration (until 20 December) at Victoria Miro
gallery, but the art world’s favourite transvestite
potter is also supporting a cause that is literally
close to his heart this week. His gilded ceramic
sculpture of his childhood teddy Alan Measles
is one of 12 works donated by artists—including
Jeff Koons, Anish Kapoor and Sarah Lucas—to So-
theby’s contemporary day sale today to benefit
the Aortic Centre Trust. Perry says that watching
Jullien Gaer—one of the trust’s founders—per-
forming open-heart surgery ten years ago was
“one of the most moving experiences of my life”,
although with characteristic wit he also likens it
to “sewing prosciutto at the bottom of a bucket”.
Big-hearted bear: a gilded ceramic sculpture
of Grayson Perry’s partner-in-crime will
be auctioned for the Aortic Centre Trust

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Loan restrictions stipulated in the London museum’s original bequest are loosened,
paving the way for joint international exhibitions in Los Angeles and Vienna

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By Martin Bailey

LONDON. The Wallace Collection, one of Britain’s most atmos-

pheric national museums in an historic house, is moving into
the international exhibitions circuit, now that it is able to lend
its works for the very first time. The Art Newspaper can report
that Lady Wallace’s 1897 will has been reinterpreted, and is no
longer regarded as a prohibition on lending. This will put the
Wallace Collection—home to the art and armour collections
the charity [the Wallace Collection] to be able to lend objects
from the Wallace Collection and to borrow works of art for
exhibitions”. After consulting with the government’s culture
department, which regulates and funds the Wallace Collection,
the commission granted an order enabling loans.
So why did this not happen earlier? According to the Wal-
lace’s chairman, António Horta-Osório, until recently it was
believed that having all the collection on display “outweighed
the advantages of national and international collaboration”.
A Wallace
Collection show
on Fragonard,
featuring The
Swing (1767) from
its collection, is
now on the cards.
Below: Wallace
chair António
THE COMPLETE
brought together by the first four Marquesses of Hertford and But with what he describes as the changing cultural landscape, Horta-Osório and

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Sir Richard Wallace—in a strong position to obtain reciprocal “this balance has shifted and in order fully to engage with the director Xavier
loans and mount major shows. international art community, we must be able to share exper- Bray with Lady
Following loosening of the loan restrictions, the Wallace tise and resources with our colleagues in other great collections Wallace’s 1897 will
Collection is now discussing joint exhibitions with museums around the world”.
in London, Los Angeles and Vienna. Once the museum is able In 2000, the Wallace opened its first temporary exhibition

Get seamless digital and print access to all our breaking news, agenda-setting
to make loans, others are keener to reciprocate with lending to
the London collection or to embark on joint shows.
Xavier Bray, who took over as the Wallace
director three years ago, says that the wording
of Lady Wallace’s will specifies that the family
bequest shall always be “kept together”
and unmixed with other objects of art.
Since the bequest to the nation in 1897
(and the museum opening in 1900), this
has been interpreted as a prohibition
on lending, although the will did not
specifically prohibit temporary loans.
LES LALANNE: COURTESY OF SOTHEBY’S PARIS. FRAGONARD: PHOTO: © PHILAFRENZY; THE WALLACE COLLECTION. HORTA-OSÓRIO AND BRAY: ©TOM MANNION 2019
space, in the basement, and therefore not part of the original
historic house where the permanent collec-
tion is displayed. Although a fairly small
area, it was tripled in size with an extension
in June last year. In recent years, borrowed
works have also occasionally been dis-
played in the historic rooms; currently,
for example, it is showing Manolo
Blahnik shoes alongside paintings.
Comparative cases
Other museums with origins in
In France, both the Musée Nissim de Camondo, a collection
of decorative art in Paris, and the Musée Condé, set up by Henri
d’Orléans in his château in Chantilly, can never lend. In the US,
the Frick Collection in New York—the closest comparison to
the Wallace Collection—cannot loan works donated by Henry
Clay Frick, although it can lend paintings that were acquired
later. The Isabella Stewart Gardner Museum in Boston can lend,
but is obliged to leave empty spaces on its walls.
So what is planned for the Wallace Collection? There will be
an important loan to a monographic show for 2020 on a north-
ern Old Master, with details to be announced shortly. Bray is

Complete
Bray wanted to “think about private collections have also had also in discussion with Vienna’s Kunsthistorisches Museum
how we could change the status restrictions on lending. The Burrell about a possible exhibition on German Renaissance armour,
quo and start collaborating with Collection in Glasgow was allowed to since the Wallace has a fine armoury. Another project is likely
other museums in organising more lend within the UK but not to send to be a Fragonard show, featuring the Wallace’s saucy painting
ambitious exhibitions”. He works overseas. But in 2014 its of The Swing (1767) and his evocative The Souvenir (1778). A major

investigations and in-depth analysis with the complete subscription package.

approached the Charity Com- trustees obtained special approval show on Frans Hals is also being planned, which will enable the
mission, which determined from the Scottish Parliament to Wallace’s famed Laughing Cavalier (1624) to be shown alongside
that it is “in the interests of enable them to lend abroad. Hals’s other portraits.

spent over a decade examining texts in 1511, eight years before Leonardo’s
Forget the Salvator Mundi: focus on Vasari

The Louvre’s exhibition on Leonardo da Vinci reveals the artist’s life. Contrary to the mythol-
ogy that surrounds the artist, suggesting
ground-breaking new research on Italian literary sources that he was easily distracted and moved
such as The Lives of the Most Excellent Paint-
ers, Sculptors, and Architects, written by the
16th-century artist Giorgio Vasari and one
of the ideological foundations of Italian
Renaissance art history. To coincide with
the show, a new version of Vasari’s Life
access to online
death in France, he never met the cele-
brated artist but was able to reconstruct
most of his life through direct and
indirect testimonies. 
Frank praises Vasari’s understanding
of Leonardo’s spirit but says that he took

Monthly
By Vincent Noce
PARIS. The highly anticipated Leonardo
da Vinci exhibition marking the 500th
anniversary of the artist’s death opens
at the Musée du Louvre in Paris this
month. Although the media has focused
primarily on whether the Salvator Mundi
will be included in the display, the real
substance of the show is the exhaustive
research into Italian literary sources con-
ducted by Louis Frank, a curator in the
prints and drawings department and a
philologist, which has shed new light on
frequently from one preoccupation of Leonardo da Vinci is being published by none of his assertions for granted and
to another, the curators argue that all the Louvre and the art publisher Hazan, assiduously cross-checked the writer’s
of Leonardo’s endeavours in multiple featuring the original Italian texts along- statements about the artist’s life and
fields were ultimately undertaken in the side Frank’s translations. work against other documents. He urges
service of painting.  A painter at the Medici court, Vasari caution when we read the many subse-
Frank, who has organised the exhi- wrote biographies of the greatest artists quent accounts of Leonardo’s life.
bition with Vincent Delieuvin from the of his time, encompassing the likes
museum’s paintings department, has of Donatello and Michelangelo. Born

content
CONTINUED ON PAGE 13

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 S I N C E 17 0 7

Daniel Buren, Untitled, 1970, acrylic on canvas, 150.5 x 141 cm, Auction November 2019

Auction Week 25 – 29 November 2019

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