THE ART NEWSPAPER
THE ART NEWSPAPER|FRIEZE ART FAIR|4 OCTOBER 2018
Frieze fights gender gap
amid pressure for change
Fair focuses on
women but market
still favours men
A
s the UK marks the
centenary of women’s
suffrage, Frieze is
promoting female
artists this week. The
talks programme at Frieze Masters
is devoted to female artists, while
Social Work, a new section at Frieze
London, focuses on women who
challenged the art market in the
1980s and 1990s.
But how far is this drive towards
equality reflected in what galleries
are showing at Frieze? A survey
of all exhibitors at Frieze London
found that female artists are still
in the minority: around 39% of the
artists shown by galleries in the
fair’s main section (not including
Social Work) are women, while 61%
identify as men.
The imbalance is greatest among
more established galleries dealing
in higher-value works, but the gap
narrows in the Focus section for
younger galleries, where around
44% of the artists are women and
55% men (one artist, Elle Pérez, uses
Shamanic tree takes root in the tent
Tatiana Trouvé’s The Shaman (2018),
formed of concrete, a 1.2-tonne bronze
tree, a water tank and marble sculptures,
may be the most logistically challenging
installation at Frieze London. The work
(with Galerie Kamel Mennour, priced at
€650,000) weighs more than 30 tonnes.
“A shaman can travel between dimen-
sions, and the tree is a shaman because it
exists between two worlds—the roots are
under the soil and the top is in the sky,”
Trouvé says. Victoria Siddall, the director
of Frieze, says: “We always encourage
galleries to test the boundaries.” A.B.
THEA RT NEWSPAPER .COM
XPW\W2IV6ɀUMK The Soviet invasion to Czechoslovakia on 21 August, 1968 (St Wenceslas Square, Prague).
gender-neutral pronouns). Live is
dominated by female artists (seven,
to two men), while at Frieze Masters,
in the Spotlight section for rediscov-
ered artists from the 20th century,
there are 13 men and ten women.
Our listings of exhibitions in
central London this week reveal
that 45% of solo shows in public
institutions feature female artists,
while commercial galleries lag
behind—only 27% of selling exhibi-
tions are of female artists’ work.
The disparity is most marked at
auction, particularly in high-value
evening sales. In the evening sale
of post-war and contemporary art
/ DOWN LOA D T HE F RE E DAI LY APP
ISSUE 2|FREE EVERY DAY
MASTHEAD
YAYOI
KUSAMA
BY
exhibiting prompts a variety of
responses—one gallery owner,
showing seven male artists and one
female, said he found the question
MASTHEAD: © YAYOI KUSAMA; COURTESY OF VICTORIA MIRO. MCGOWAN: LOUISA BUCK. TROUVÉ: © DAVID OWENS/THE ART NEWSPAPER. KUSAMA PORTRAIT: MINISTRY OF EDUCATION, CULTURE AND SPORTS, JAPAN. SOCIAL WORK: © BERNI SEARLE; COURTESY OF STEVENSON, CAPE TOWN AND JOHANNESBURG
“sexist and reductive”. So, does Everyone is going dotty for Yayoi
gender matter? Dominique Lévy of
Lévy Gorvy (at Frieze Masters with
Kusama. Many tickets for the Japanese
a solo show of François Morellet, in artist’s latest Infinity Room—a large
collaboration with Galerie Kamel mirrored space with polka-dot
Mennour) thinks not. “You would lanterns at Victoria Miro in Wharf
never speak about a male or female
writer, so I find the idea of talking Road—sold out in advance. Lucky
about a male or female artist almost ticket-holders enter four at a time to
offensive—it marginalises. There is experience the Instagram-friendly
a craze to rediscover female artists; installation for around a minute. The
“Social Work is some deserve this, but some of it is
show, which also features sculptures
incredibly powerful far-fetched. There is a risk of using
and paintings, runs until 21 December.
the gender card too much, at the
and moving. To see cost of quality.”
this display… means To celebrate the tenth anniver-
INSIDE
sary of her eponymous London
the world to me” gallery, Pilar Corrias has mounted
Rose McGowan at Frieze, on an all-female stand at Frieze
London. “Things are improving for
the first anniversary of #MeToo
women—the situation is a lot better
SOCIAL WORK
for the younger generation—but we A new section at Frieze London honours
at Christie’s tonight, only two of are going backwards if you look at dissenting female artists PP7-8
56 lots are by women. In tomor- Trump and the growth of far-right
row’s evening sale at Phillips, there politics around the world,” she says.
are seven works by female artists “That is not going to be in favour of
among 37 lots, and at Sotheby’s, two women’s rights. So there is a real
women in 42 lots (the 25-lot evening polarity.” Championing equality is,
sale of the David Teiger collection she thinks, necessary for change.
includes six works by women). “Things will have to swing the
Asking galleries how many
male and female artists they are CONTINUED ON PAGE 2 
Tania Bruguera stands up for
Bangladeshi artist at the Tate
The Cuban artist Tania Bruguera will dedicate a special
performance—due to take place at Tate Modern
COMMENT
How to buy art, piece by piece: fractional
today—to the imprisoned Bangladeshi photographer
and activist Shahidul Alam. Bruguera will show images ownership hits the art market P4
from his 2010 exhibition Crossfire, which focused on
the Rapid Action Battalion, a crime-fighting unit of COLLECTOR’S EYE
the Bangladeshi police. Alam’s niece, Sofia Karim, will The UK entrepreneur Frank Cohen reveals
discuss her uncle’s plight with a group of school- how he caught the collecting bug while
children. Alam was detained by police in Dhaka in
courting his wife P12
August for making “provocative comments” about the
student protests that had hit the Bangladeshi capital.
More than 50 leading art-world figures, including IN PICTURES
the artists Steve McQueen and Anish Kapoor, have Fair-goers at the VIP opening PP14-15
spoken out against his imprisonment. G.H.
/ @ T HE ART N EW SPAPE R / @ THE ARTNE WSPAPE R . OFFICIAL
DAN FLAVIN
PINO PASCALI
3 OCTOBER – 2 SAVILE ROW
8 DECEMBER LONDON W1S 3PA
 2 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018
NEWS
Artists
Curators defend Turner Prize nominee
Luke Willis Thompson
is accused of profiting
from black suffering
L
eading curators have voiced
support for the mixed-race,
New Zealand-born artist
Luke Willis Thompson,
whose Turner Prize-
nominated work Autoportrait (2017)
has sparked anger among some groups
who say that he is profiting from black
suffering. Shot in 35mm, the black-and-
white film shows the face of a silent
Diamond Reynolds, who broadcast live
on Facebook in the moments after her
boyfriend, Philando Castile, was fatally
shot by police in Minnesota in 2016.
On the opening night of the Turner
Prize on 24 September, members of the
south London art collective BBZ turned
up at Tate Britain wearing t-shirts embla-
zoned with the words: “Black pain is not
for profit.” The protest followed an essay
published in May by BBZ member Rene
Matic, who referred to Thompson as a
“white-passing male, making work and
profiting from the violence and suffer-
ing of black and marginalised people”.
More recently, the art-critic group
White Pube has referred to the artist
on Twitter as a “white-functioning
art-bro”, revising its phrasing in subse-
quent comments, saying that it “meant
to reference [Thompson’s] proximity to
whiteness[…] in the context of the UK
and our art scene”.
But Peter Brunt, the co-curator of
the Royal Academy of Arts’ Oceania
Frieze fights
gender gap
 CONTINUED FROM PAGE 1
other way, towards women, before they
settle in the middle,” she says.
Corrias stresses the importance of
financial independence; with child-
birth still “a barrier to female artists
keeping working”, being able to afford
childcare is crucial to ensure that
careers are not cut short.
Yet there is still a demand for
female artists, both young and old;
Corrias says that six of the female
artists aged between 25 and 35 whom
she represents have long waiting lists,
exhibition, says that to characterise
Thompson as “white-passing” is “offen-
sive” in the context of the artist’s Fijian
heritage. “It is a very problematic phrase
to level at someone whose history has
its own legacies of race, marginalisation
and colonisation,” he says.
The row has erupted, Brunt
suggests, due to the different dis-
courses around race in the UK and the
US. “People’s genealogies, histories,
ethnicities and culture are not pinned
to colour in quite the same way in the
South Pacific,” he says. The curator
stresses, however, that the debate is
valid. “If you are not seen as a person of
colour, there are obvious privileges.”
Conceived as part of a trilogy,
Autoportrait is on display at Tate
and yesterday, David Zwirner sold
all of its works by female artists at
Frieze London, including Carol Bove
($350,000-$750,000), Suzan Frecon
($180,000), Bridget Riley (£600,000),
Rose Wylie (£150,000) and Lisa
Yuskavage ($900,000).
The tendency for male artists’ work
to be more highly valued benefits those
artists from the start of their careers,
says Anders Petterson, the founder of
the analysis company ArtTactic, which
recently released its first NextGen
Artists Global Report, looking at artists
aged 40 or under. It found that 85% of
the artists surveyed who frequently
sell works at auction are male. “The
gender bias in the auction market
is created at the outset of an artist’s
Thompson’s
film is a portrait
of Diamond
Reynolds, who
livestreamed the
moments after
her boyfriend
was fatally shot
Britain with two other films; all are
considered collaborations. Cemetery
of Uniforms and Liveries (2016) shows
Brandon, the grandson of Dorothy
“Cherry” Groce, shot by police in her
Brixton home in 1985, and Graeme, the
son of Joy Gardner, who died in custody
in 1993. A third video, _Human (2018),
focuses on a sculpture made by the late
UK artist Donald Rodney, using scraps
of his own skin pinned together.
Thompson produced Autoportrait
during a residency at Chisenhale
Gallery in London last year. He declined
to comment for this article, but in a
discussion with the gallery’s direc-
tor, Polly Staple, in June, Thompson
recounted how he was inspired by a
1989 show at Chisenhale of Rodney’s
career, and becomes hard to rebalance
as the career matures,” Petterson says.
He suggests that this could be due to a
male-dominated clientele.
Katharine Arnold, the head of
post-war and contemporary art evening
auction at Christie’s, attributes the
dearth of works by female artists in
evening sales not only to historical prec-
edent, but also to collectors’ reluctance
to sell works by the most highly prized
female artists. Emma Baker, head of the
October contemporary art evening sale
at Sotheby’s, says: “Given that the sec-
ondary ‘contemporary’ art market deals
for the most part with 20th-century
works, it is perhaps unsurprising that
the gender imbalance of an earlier time
should be reflected in sales.” But new
works, which included a picture of
Groce. That led to Thompson contact-
ing Groce’s and Gardner’s descendants.
While researching police brutality,
Thompson came across Reynolds’s
video. In November 2016, he estab-
lished a conversation with Reynolds
and her lawyer, proposing to collab-
orate on a work that could act as a
“sister-image” to her video broadcast.
After Thompson flew to Minnesota in
January 2017, Reynolds agreed to the
project, but due to legal restrictions
imposed by the trial of the officer who
shot Castile, “there was no way to work
with testimony”, Thompson said in
June. Portraying her as silent became
“the only possibility”, which “dove-
tailed with this idea of what it is to just
see you blink, to just see your breath”.
Megan Tamati-Quennell, a curator
at New Zealand’s national museum Te
Papa, points out that Thompson’s work
has previously addressed “the racism
faced in New Zealand by Maori and
Pacific communities”. In 2012, he
displayed three roller doors that had
been tagged by the Manurewa teenager
Pihema Cameron, who in 2008 was
stabbed and killed by the owner of
the property, Bruce Emery. “Luke is
a very considered artist and works
in consultation with his subjects or
estates, gaining informed consent from
his subjects for his work,” Tamati-
Quennell says.
As Brunt notes, Thompson is
“totally cognisant of the pain” of his
subjects. “He has his own history of
that pain, but he is working across
identity lines, and that’s where the
power is. It’s a very brave thing to do.”
Anny Shaw
attitudes are filtering through, she says.
“Eighty per cent of the works by female
artists that we’ve offered in London so
far this year were made after 1995.”
According to ArtTactic’s report, the
primary market is more balanced, while
museums lead in the parity stakes, with
close to 50-50 exposure in exhibitions.
Michael Govan, the director of the Los
Angeles County Museum of Art, says its
curators will only propose acquisitions
of works by female artists for the next
year. The goal, he says, “is parity that
reflects society”, but “we still have a
long way to go”. Could this concentra-
tion on female artists raise prices? “If
we’re lucky, we’ll price ourselves out of
the market,” he says.
Anna Brady
Rich pickings
for Tate at fair’s
VIP opening
The VIP preview of Frieze London
kicked off with major early acqui-
sitions for UK institutions and a
promised solo museum exhibition for
an emerging artist.
Four works were acquired by the
Tate, thanks to the Frieze Tate Fund,
supported for the third year by the
sports and media agency Endeavor.
The pieces, selected by a team of
Tate and international curators with
a budget of £150,000, include Sonia
Boyce’s 1997 photopiece The Audition
(Apalazzo Gallery) from Frieze
London’s Social Work section and
Giorgio Griffa’s Rosa e grigio (1969;
Galleria Lorcan O’Neill). The other
works are by two artists new to the
Tate: Johanna Unzueta (April, May
2016 NY, 2016; Proyectos Ultravioleta)
and Claudette Johnson (Standing
Figure with African Masks, 2018;
Hollybush Gardens).
The Contemporary Art Society’s
Collections Fund acquired works by
two North American artists for The
Box, a new arts centre due to open in
Plymouth in 2020. Kehinde Wiley’s first
film installation, Narrenschiff (Ship of
Fools) (2017), a three-screen digital film
projection, was bought from Stephen
Friedman, along with two pieces by
the young Korean-Canadian Zadie Xa
from her solo presentation in the Focus
section with Union Pacific gallery.
This year also sees the inauguration
of the Camden Arts Centre Emerging
Artist Prize, which goes to the Hong
Kong artist Wong Ping, who will receive
a solo exhibition at the centre in the
next 18 months.
Louisa Buck
THOMPSON AND JOHNSON: © THE TATE
The Tate has acquired Claudette
Johnson’s Standing Figure
with African Masks (2018)
4 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018
COMMENT
Georgina
Adam
Interested in a square
inch of a Warhol?
Asset tokenisation. Fractional
ownership. Hedging.
Derivatives. The terms and
processes of the money world are
increasingly washing into the art market,
as financiers and tech wizards seek ways
of cashing in on the enormous profits
that, they say, can be generated by art.
Over the past year or so, a growing
number of new investment platforms are
touting “fractional ownership”, or tokeni-
sation of art, most using blockchain
technology, to allow the small investor to
own a tiny part of a work of art. The idea
is that dividing ownership of an asset
(in this case a work of art) and selling it
via tokens, leads to greater liquidity in
the marketplace and enables the small
investor to share in price rises.
The pitches from these start-ups all
emphasise what they say is a freeing up
of the art world. “Opening the doors to
Billy Apple ®
The Artist Has to Live
Like Everybody Else
௅
Until 2 November 2018
THE
MAYOR
GALLERY
top-tier, A-class art investment” promises
Masterworks. Maecenas will “democ-
ratise access to fine art”. Look Lateral
“makes the market more transparent,
accessible and liquid”. “Everyone can be
part of the game” proclaims Feral Horses.
The approaches vary. Feral Horses
sells shares in art they select themselves.
Masterworks plans to buy works of art at
auction and then sell shares in them. On
resale, the investors split any profits.
Most of the start-ups issue their own
cryptocurrencies, which is also their way
of funding their businesses through ICOs
(Initial Coin Offerings). Cryptocurrencies
are how investors pay for the shares they
buy in works of art; the transactions are
then recorded on the blockchain.
But the most disruptive aspect
of these businesses is the creation of
exchanges on which investors can trade
their ‘tokens’, which represent their
21 Cork Street, First Floor
London W1S 3LZ
Tel: +44 (0)20 7734 3558
www.mayorgallery.com
shares in a work of art. These tokens,
a form of derivative, will in theory
increase in value as the underlying asset,
the work of art, increases in value. So,
it is not necessary to sell the work of
art to make money, just to trade in the
tokens themselves. But of course these
can go down as well as up, just like the
underlying asset…
Maecenas carried out its first
“tokenisation” in September, selling a
31.5% stake in Andy Warhol’s 14 Small
Electric Chairs (1980), for $1.7m. The
vendor, the Cork Street-based Dadiani
Syndicate, was selling 49% of the work
at a total valuation of $5.6m—possibly
an optimistic figure, since it failed to
sell at Bonhams in February 2016 at an
estimate of £4m. Payment was possible
in Bitcoin, Ethereum or ART, Maecenas’s
own currency.
I asked Maecenas’s chief executive
officer Marcelo Garcia Casil if the
company would receive the full amount,
since cryptocurrencies were dropping in
value at that time. “Yes, we hedged that
risk,” he answered. “And the transaction
is settled in dollars.”
One characteristic of this new
disruption is that the players are from
the finance world, not the art field. On
Stand D11
Aluminium Reliefs 1965–68
The Art
Newspaper
PODCAST
in association with
A growing number
of new investment
platforms are
touting “fractional
ownership” of art
a recent episode of the TV programme
Dragons’ Den, the Feral Horses team,
seeking a modest £50,000, were
roundly demolished by the dragons
(things got fairly heated at one point),
partly because they were entering a
sector in which they have no experience. Conversation and debate
Previous attempts to sell shares from inside the art world
in art have mainly failed, notably the
Luxembourg-based SplitArt, which was Listen and subscribe
liquidated in 2012. But, say the new gen- A new episode debuts every Friday via
eration of hopefuls, this was in advance the usual podcast channels, including
of its time and things are different today.
iTunes, TuneIn and SoundCloud. From a
We shall see.
• Georgina Adam is The Art Newspaper’s desktop or laptop, find the show at
art market editor-at-large and the theartnewspaper.com/podcast
author of Dark Side of the Boom: the
Excesses of the Art Market in the 21st
Century and Big Bucks: the Explosion of theartnewspaper.com
the Art Market in the 21st Century (both
published by Lund Humphries) ␣ 
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 4 OCTOBER 2018
FEATURES
Social Work
VOICES OF
DEFIANCE
still provoking,
still inspiring
Eight dissenting female artists feature
in Frieze London’s section Social Work.
By Louisa Buck
F
or the second year running,
female artists have their own
special section at the heart of
Frieze London. It is especially
appropriate since 2018 marks the
centenary of women’s suffrage
in the UK. Social Work features
solo presentations by eight women, across
different generations, whose work challenged the
male-dominated art world of the 1980s and 1990s.
The subject matter may not be as eye-popping as
the blatantly sexual imagery of last year’s special
section Sex Work, but this time the pieces extend
CHADWICK: COURTESY OF THE ESTATE OF THE ARTIST AND RICHARD SALTOUN GALLERY. SEARLE: COURTESY OF STEVENSON, CAPE TOWN AND JOHANNESBURG. DUBEN: COURTESY OF ARTIST AND PI ARTWORKS
beyond the solely bodily to address wider social,
political and personal issues.
The artists selected for Social Work were
chosen by an all-female panel (which included
myself) to show that while the mainstream art
world was busy celebrating the paint-splattered
machismo of Neo Expressionism (the New Spirit
in Painting exhibition at London’s Royal Academy
of Arts in 1981 did not include a single woman),
female artists were working behind the scenes,
and under the radar, to address a very different
status quo. The pieces in Social Work show that
the artists often achieved this using many differ-
ent means and media.
There are, of course, paintings but there
are also the soft sculptures and painted story
quilts of Harlem-born Faith Ringgold, the films
and videos of London-based artist Tina Keane,
and wearable sculpture and exquisitely staged
photographs of viscera by the late UK artist
Helen Chadwick. The show includes collaged
hand prints by the late US artist Nancy Spero,
paintings as well as wooden and metal assem-
blages from Turkish-born Ipek Duben and
the transparent photographs of Cape Town’s
Berni Searle, who at 54 is the youngest artist
in Social Work. In their form as well as their
ush
content, these women were using their art to push
at the boundaries of accepted convention.
LOOKING BEYOND THE FEMALE FORM
In some cases, the female form is conspicuous by
its absence. Corpus (1984-85), by the US concep-
tualist Mary Kelly, is the first section of a larger
installation entitled Interim (1984-89), which
“These women were
followed on from her seminal work Post-Partum
Document (1973-79). Corpus brings together dra-
matically photographed images of garments and
accessories—in this case a black leather jacket and
a handbag—each accompanied by handwritten
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
19–22 SEPTEMBER 2019 CHICAGO | NAVY PIER
OPENING PREVIEW THURSDAY 19 SEPT
Presenting Sponsor
Helen Chadwick’s In The Kitchen, London (1977) .
Below, Berni Searle’s Still, Cape Town (2001, left)
and Ipek Duben’s Sherife, Istanbul (1981)
using their art to push
at the boundaries of
accepted convention”
7
text on Plexiglas panels, which communicate the
first person experiences, both physical and psy-
chological, of women as they encounter middle
age. “The question I wanted to raise is, what is
a woman? What about the older woman?” Kelly
says. “When I made the work, I was in my 40s and
it’s about the kind of fantasies we have [related to]
image and body. But I wanted to look elsewhere
from images of women as we were saturated with
all that. I wanted to hear a voice.”
Clothing also forms the subject of the Sherife
series of paintings by Duben, who returned to her
native Istanbul in the late 1970s after studying in
New York and realised that “as an artist, I had to
come to terms with my own personal and cultural
roots and the whole question of family identity,
sexual identity and religious identity.” The paint-
ings take their name from Sherife, a cleaner from
an Anatolian village who had been abandoned by
her husband. “She would not agree to model for
me, as for her it would constitute a sin,” Duben
remembers. Duben chose to depict her clothes
instead. “I painted the headless Sherife contained
in a shapeless dress, which revealed nothing
about her physical presence and represented her
absence. At the time I felt I had painted an iconic
Turkish woman.”
Duben echoes the view of all Social Work
artists when she describes her practice as “polit-
ical, social and psychological”. Here feminism is
not restricted to gender politics, but challenges
wider injustices and abuses in society, drawing
 CONTINUED ON PAGE 8
 8 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018

FEATURES
Social Work

 CONTINUED FROM PAGE 7
on both the past and the present. Keane’s video
In Our Hands, Greenham (1982-84) references a
women’s group who established a peace camp at
the Greenham Common airfield in Berkshire in
1981 in protest against the UK government’s deci-
sion to store nuclear weapons there; while Spero
borrows archaic images of females from Ancient
Greek, Aztec and Prehistoric sources to support
her struggle for justice in 20th-century war zones
in South Africa and El Salvador. “Certainly child-
birth is our mortality/We who are women/For it
is our battle”, states her text work Aztec Sahagun
(1979), shown for the first time in Social Work.
PERFORMANCE AND INTERACTION
A performative strand runs through much of the
section. The photographic series In the Kitchen
(1977) presents Chadwick’s wryly humorous
parody of the enslaved domestic goddess. The
series shows the artist dressed in elaborate and
cumbersome sculptural costumes—an electric
cooker, a fridge freezer, a sink unit and a washing
machine—which conflate the female body with
the domestic machine.
BOYCE: © DAVID OWENS/THE ART NEWSPAPER. SPERO: COURTESY OF GALERIE LELONG
people laugh and they won’t know why; it has to
do with minstrelsy and all that baggage.”
There are more deep-rooted historical
resonances in the photographs, videos and
performances of Searle, whose work explores
how history and geography can be communi-
cated through the human body. Still (2001) is a
sequence of eight semi-transparent photographs
of the naked artist kneeling and covered in flour,
illuminated by a central light as she ritualistically
kneads dough to make roti flatbread. “Covering
myself in a white substance has obvious racial
connotations,” she says. “But often there is a ten-
dency to see this work only in relation to a South
African context, which I think is limiting. After
all, making roti is an activity that many different
people can relate to, regardless of nationality.”
Although many of these artists are now
established names—Boyce, for example, is a Royal
Academician with an MBE—most of the pieces in
Social Work have not had wide exposure. Boyce’s
piece Audition is receiving only its third ever
showing in 30 years and, although there is now a
strong international market for Ringgold’s quilts,
this is a relatively recent phenomenon. As the
American artist remembers: “In 1980 my career
as an artist was in limbo and I was so preoccupied

Twenty years later, the British Afro-Caribbean
artist Sonia Boyce marked the shift from drawing
and sculpture to more live, interactive work with
the piece The Audition (1997), in which she invited
participants to try on an afro wig. Each individual
was photographed with and without the wig, and
a selection of more than 400 of these photographs
are being shown in Social Work.
“It was interesting in terms of people wanting
to step into this imagined other identity, and all
the questions it opened up around the connec-
tions between the Afro body being parodied and
the clown,” Boyce says. “Since then I’ve realised
that just the act of putting on an afro will make
at the time I hardly noticed I’d turned 50.” Duben
admits that “it has been hellishly difficult”, and
although Kelly’s Interim is now regarded as one of
the most important feminist works of the 1980s, it
is rarely shown in its entirety.
RAISING CONSCIOUSNESS
So, while this gang of eight may now occupy
centre stage at Frieze London, there is still much
work to be done – especially in the current
climate, where #nosurprise, the art world
equivalent to #metoo, fields numerous claims of
discrimination and sexual abuse, and male artists
Top, Sonia Boyce with her work The Audition continue to dominate the stables of commer-
(1997), at Apalazzogallery at Frieze London. Above, cial galleries and command the highest prices.
Nancy Spero’s Aztec Sahagun, New York (1979) “What’s happening now reminds me of the early
1970s,” Kelly says. “The subtleties have gone and
there is continuous consciousness-raising that
“There is still much needs to happen.” She is still, however, happy to
have her work included in this special section
work to be done— at Frieze: “In the middle of an art fair it’s good
to have somewhere that is a little transcending,
especially in the somewhere where people have time to think.” We
can only hope that this pause for thought leads to
current climate” wider repercussions.

FRIEZE MASTERS
REGENT’S PARK, LONDON

OCT 4 – 7 | STAND C5

MNUCHIN GALLERY
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Image (detail): Kazuo Shiraga, Enju, 1983, oil on canvas, 52 x 77 inches (132.1 x 195.6 cm)
 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 .

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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:
 Property from the Estate of Howard Karshan

Gerhard Richter
Hände
signed, numbered and dated ‘
12 Richter 63’ on the reverse
oil on canvas, in artist’s frame
30.9 x 45.9 cm (12 1⁄8 x 18 1⁄8 in.)
Painted in 1963.
Estimate
£2,000,000-3,000,000
© Gerhard Richter 2018 (10092018)

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
 Josef Albers
Yto Barrada
John Chamberlain
Nigel Cooke
Keith Coventry
Tara Donovan
Jean Dubuffet
Kevin Francis Gray
Loie Hollowell
Hong Hao
Lee Ufan
Beth Letain
Sol LeWitt
Agnes Martin
Prabhavathi Meppayil
William Monk
Yoshitomo Nara
Arlene Shechet, Above Water, 2018. © Arlene Shechet

Nathalie Du Pasquier
Adam Pendleton

Frieze
Pablo Picasso
Michal Rovner
Arlene Shechet
Song Dong
STAND B4 Brent Wadden
Yin Xiuzhen

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

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

Frank Cohen
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
Head of sales (UK): Kath Boon
Frank Cohen swapped collecting cigarette packets for art 50 years ago Head of sales (the Americas):
Kathleen Cullen

I
f you ask Frank Cohen when he caught the collecting bug, he will say he What is your dream purchase? Piccadilly. This year we’re showing 67 Advertising sales director: Henrietta Bentall
always had it. “I’ve been a collector all my life. When I was a kid, it was There are too many things that I would works by John Virtue. Marketing manager (the Americas):
cigarette packets and old coins,” he says. His introduction to prints, which love to own, pieces in museums that are Steven Kaminski
came via his future father-in-law, led to a desire to own original works. beyond reach. Picasso’s Guernica (1937) Which artists would you invite to Administrator/book-keeper (the Americas):
Nearly 50 years later, the Manchester-born entrepreneur has not looked is one of my favourites. And I hadn’t your dream dinner party? Anthony Shao
back. “Every penny I’ve had has been put into art,” he says. In the 1970s, looked closely at Balthus until the great Francis Bacon because he was outra- Digital development director:
he focused on Modern British artists such as Edward Burra before concen- show at the Fondation Beyeler in Basel. geous. He might get pissed and pour a Mikhail Mendelevich
trating on the YBAs in the early 1990s. Now he buys what catches his eye, with figu- Figurative pieces are my thing; that’s bottle of champagne over your head. System administrator: Lucien Ntumba
rative works topping his wish list. A selection of monochromatic landscapes from his why I collected Modern British artists He’d be very good company if you could Office co-ordinator and customer
support: Margaret Brown
collection by the British painter John Virtue are currently on display at Fortnum & like Edward Burra. I also like Edward stand the pace. Maggi Hambling is fan-
Mason in his third collaboration with the department store (until 20 October). Hopper and the American Realists. tastic, a real bloody character. There are
PUBLISHED BY U. ALLEMANDI
smoking bans everywhere, and yet she & CO. PUBLISHING LTD
Which work in your collection walks into Fortnum & Mason and lights
requires the most maintenance? up. Jake and Dinos Chapman are also UK OFFICE:
THE ART NEWSPAPER: How did you in my blood to do something, I go mad. I buy a lot of sculpture that has to be good fun. T: +44 (0)20 3416 9000
first get into collecting? I haven’t got them all now. I wasn’t sen- waxed and cleaned. In my garden, I’ve E: londonoffice@theartnewspaper.com
FRANK COHEN: My wife’s father was an timental in those [early] days; that only got an Anthony Caro, a Franz West, a Which purchase do you regret? US OFFICE:
old-fashioned art dealer in Manchester comes when you get old. William Turnbull, etc. In fact, there is a Hundreds. I was a bulk buyer in the T: +1 212 343 0727
named Jack Garson. He dealt in Modern guy here today giving them a wax. beginning. I used to go to small galler- E: nyoffice@theartnewspaper.com
British artists such as L.S. Lowry, David And your most recent purchase? ies and buy five of this and six of that. Printed by Elle Media Group, Basildon
Shepherd and Edith Le Breton. He was A beautiful George Condo painting. What is the most surprising place Now, if you’re asking what I wish © The Art Newspaper Ltd, 2018
a wheeler-dealer who always wore a you have displayed a work? I’d bought… I started buying from [the All rights reserved. No part of this newspaper may be reproduced
without written consent of the copyright proprietor. The Art
suit, waistcoat and dickie bow. Every What is the most expensive work in For the past three years I’ve shown late London dealer] Leslie Waddington Newspaper is not responsible for statements expressed in the
time I went to collect his daughter, your collection? works at Fortnum & Mason in in the mid-70s. I didn’t have any signed articles and interviews. While every care is taken by the
when we were courting, he would sell It’s probably a 1960s work by Frank money, so he let me pay over time. publishers, the contents of advertisements are the responsibility
of the individual advertisers
me Lowry limited-edition prints. I had Auerbach, worth around £5m. I wouldn’t have been able to get where
thousands of the bloody things. “Francis Bacon would I am today without him. Early on he
Subscribe online at
What was the first work you bought?
If your house was on fire, which
work would you save?
be good company at offered me a fantastic painting by Roy
Lichtenstein for $80,000 but I couldn’t theartnewspaper.com
It was a postcard-sized Lowry painting I’d save my wife. What do you want me a dinner party if you afford it; it probably would go for $15m
at auction today.
@theartnewspaper
@theartnewspaper
called Our Family, for about £1,100. It to say? I wouldn’t give a shit about the
was my first of 57 Lowrys. Once I get it art, it’s all insured, but my wife… could stand the pace” Interview by Emily Sharpe
@theartnewspaper.official

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Installation view, THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE, 2018
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 4 OCTOBER 2018

IN PICTURES
Faces at Frieze

The models Raminat

The collector Sauickhite and Chérazade
and art adviser Ghalifa wear designs by
Gilles Berthet Deborah Milner at the fair

The supermodel
Claudia Schiffer

Andrea Schlieker
(left), the director
of exhibitions and
displays at Tate
Britain, with Frances
Morris, the director
of Tate Modern

Hans Ulrich Obrist,

y
the artistic director

art)
of the Serpentine The Tate’s director,

P(
Galleries Maria Balshaw

people
Nancy Stannard, the
director of Code Art
Fair in Copenhagen

Flying in the face of gloomy world politics, the art world

was in high spirits yesterday at the opening of Frieze in
Regent’s Park, where supermodels and super-curators
rubbed shoulders with the usual crowd of international
artists and art enthusiasts. Purse strings were being
loosened, too. Wissam Al Mana, the co-owner of Lazinc
gallery and former husband of Janet Jackson, said he
ALL PHOTOS: © DAVID OWENS/THE ART NEWSPAPER

already had his eye on “a few pieces”. But by the end of

the day, another fair-goer was overheard saying: “We
might as well go to get something to eat; it’s not as if we
can afford any more art.”
Julia Michalska
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018 15

Katharine Stout, the Tate Modern’s director

deputy director of of exhibitions and
London’s Institute of programmes, Achim
Contemporary Arts Borchardt-Hume

Caroline Douglas,
the director of the
Contemporary
Art Society

The artist David

Shrigley with the
centrefold he created for
yesterday’s artists’ edition
of The Art Newspaper

Wissam Al Mana,
the co-owner of
Lazinc gallery, with
Bobby Monteverde
ALL PHOTOS: © DAVID OWENS/THE ART NEWSPAPER

The artist and The Venezuelan-

jewellery designer The UK artist born collector
Beau Han Xu Marc Quinn Tiqui Atencio
16 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018

INTERVIEW
Artists

Francis Upritchard:
The confessions
of a magpie Kiwi
The New Zealand-born artist’s show at the Barbican
Art Gallery reflects her diverse approach to materials,
including a rare Brazilian rubber called balata. By Ben Luke

F
Francis Upritchard’s rancis Upritchard has taken a
practice encompasses novel approach to tackling the
everything from sewing Barbican’s unique, tricky Curve
to thermoplastic gallery, where she unveiled a
huge body of new work. Her
initial idea was to present a
“rainbow-light spectrum that
plays with distortion and scale”. And while she
realised that idea was “too pedantic”, colour
still dictates the viewer’s journey through the
exhibition—it begins with the brightly hued figu-
rative sculptures in polymer clay through which
into conversation. “I’ve always had a big problem
with the hierarchy within art, craft, jewellery,
design; I think it’s weird and silly,” she says. Her
Barbican exhibition reflects this: viewed as a kind
of “materials retrospective”, she says, featuring
her work in sewing (including a display of hats),
ceramic, bronze, glass and thermoplastic, as well
as the polymer clay and balata. Her figures draw on
an array of references, from Indian miniatures to
sci-fi. Together, the range of techniques and refer-
ences has prompted one of the most original sculp-
tural languages on the contemporary art scene.

PORTRAIT: NICOLE BACHMANN

Upritchard forged an international reputation,
and ends with radically different works in balata,
a rubber extracted from the Amazon rainforest.
Upritchard often collaborates with other artists
and designers, bringing different arts and crafts
THE ART NEWSPAPER: Where does your Barbican
show’s name, Wetwang Slack, come from?
FRANCIS UPRITCHARD: It’s a very important site
for pre-Roman civilisation [in East Yorkshire,

Paris Asian
Art Fair
ValerioADAMI
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313 Art Project

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Valerio Adami, The Trap, 1964, acrylic on canvas, 100 × 130 cm – © Valerio Adami by SIAE 2018
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018 17

Wetwang Slack, the artist’s show at the
Barbican’s Curve gallery, is named after an
important English site for pre-Roman civilisation.
Right, her sculpture Pruit Igoe (2018)
Because I was wondering how the polymer clay
sculptures would work with the balata works.
They are both figurative, but the intention of the
figuration is really different. The [polymer clay]
figures are very exact and I take a lot of time with
them, and the balata pieces are wild, theyhey happen
really fast and there is quite a lot of detail,
tail, but you
can’t do so much.
There was this funny white culture and the Maoris
were really being suppressed and it was very con-
fusing. I felt like I was always the other—people
were still talking about home, meaning England,
three generations later. And Maori culture is
amazing about place and home, being part of the
landscape and connected to the land in a way that
is really beautiful.
• Francis Upritchard: Wetwang Slack, Barbican Art
Gallery, London, until 6 January 2019

You’ve talked about the figures as husks. usks.

What do you mean by that?
It’s not a person. When people say, she’s ’s a nice
sculpture, he’s a nice sculpture, I’m like: e: “No, no
no, no: it.” It’s a sculpture. It’s not a human,
man, it’s
not even a doll. Is it even a representationion of a
human? I think of them almost in the way that
people’s clothing signifies so much about out them—
these are more like outfits.

But then you’ve made works that draw raw on real

Garry.
people, like your gallerist Kate MacGarry.
[She points to an Indian miniature shee has ref- f
ike this
erenced in one of her sculptures.] It’s like
Indian painting is from somebody else’s e’s inter-
pretation of a person, an Indian mysticc painter,
and my drawings from that are a translation
slation
INSTALLATION: PHOTO: © ANGUS MILL; COURTESY OF THE BARBICAN. PRUIT IGOE: © ANGUS MILL; COURTESY OF KATE MACGARRY

ed the
process. I have a family of friends called
Pembertons, and they have lovely faces, s,
four girls. I use their faces a lot
because it’s a particularly English
look that I like. And I like big
north-east England] because of a chariot burial, Pritchard’s techniques have noses. Sometimes they are sort of
and historians didn’t realise until then that our someone, but they are never really
English ancestors did this. And it’s just such
prompted one of the most someone. I never try to get it exact.
a great name. And also the balata—the way I original sculptural languages
work with it is wet, and it’s quite slack when I’m You are creating a collage of cultural al
working with it. Somehow, those words made me on the contemporary art scene forms. Are there any moments where re
laugh so much. you feel that it is too on the nose, where
about it. And then, looking through my photos you don’t want it to clearly evoke a
At what point did the title emerge? after Purple got removed, there it was. particular issue?
Actually, I wanted to call it Purple, but then Yes, because that’s a difficult matter in the art
John Akomfrah’s previous show was called that. You have a scale model of the Curve gallery— world now. But this is something I’ve beeneen inter-
r
But I went to Hull with the artist Brian Griffiths have you had to think about the space more ested in for a very long time. And I hopee I’m being
because we were in a puppet show together and than you would a white cube? sensitive and doing it right, because wee are all
we went to a museum where there was this hilar- Well, coming up with the idea of it being the humans and I’m magpieing—I’m always ys mixing. I
ious, creaking figurative diorama of pre-Roman colour spectrum, even though that is really hokey think it might be because I am from New ew Zealand,
life in Britain, Wetwang Slack. I took a photo of it, and doesn’t make sense, helped me to decide to and growing up I was away from wheree proba-
and thought it was a great title for a show. I forgot do this thing of being bright at the beginning. bly most of my ancestors are, which is [in the UK].
Suspension

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

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 CALIBER RM 07-01
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www.richardmille.com
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018 21

CALENDAR
Frieze week
○ Frieze talks
THURSDAY 4 OCTOBER
12PM Tacita Dean and Tim Marlow
Frieze Masters Auditorium
3PM Julie Mehretu and Thelma Golden
Frieze Masters Auditorium
12.30PM Private in the Public
Realm: Towards New Alliances
Including Nick Thorton and Antonia Carver
Frieze London Auditorium
4.30PM On Social Work panel: Mary Kelly,
Sonia Boyce, Berni Searle and Ipek Duben
Frieze London Auditorium
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
THURSDAY 4 OCTOBER
Getting under Ribera’s skin
PHILLIPS Ribera plays with these two sides Jusepe de Ribera’s Apollo and
2PM 20th-century/ Dulwich gallery draws a line between Spanish of his work in the Martyrdom of Marsyas (1637) is in the show
contemporary art day sale Saint Bartholomew (1644), which is
30 Berkeley Square, W1J 6EN artist’s brutal realism and classicism on loan from the Museu Nacional three paintings, one drawing and
BONHAMS d’Art de Catalunya. The artist places one print of the flayed saint, but
5PM Africa Now Ribera: Art of Violence have seen on the streets of Rome the decapitated marble head of all are markedly different in their
101 New Bond Street, W1S 1SR Dulwich Picture Gallery and Naples”, Bray says. Although the Apollo “very significantly” in the handling of the scene. The subject
CHRISTIE’S Gallery Road, SE21 7AD artist was born near Valencia, he foreground of the painting, Bray allowed Ribera to show off his skill
UNTIL 27 JANUARY 2019 is recorded as being in Rome, aged says. “And in doing so he is building at painting human skin, at convey-
7PM Thinking Italian; and post-war
and contemporary art evening sale just 16, before moving to Naples— up a visual, almost art-historical, ing the emotions and terror felt by
8 King Street, SW1Y 6QT then under Spanish rule—where argument of ideal art—led by Apollo Bartholomew, and also the reality of
LONDON. Scenes of “extreme he made his name, mostly making and the idealism of Raphael and the execution method: “the way the
FRIDAY 5 OCTOBER violence” grace the walls of the works for a noble and merchant Michelangelo—being toppled by this executioners perform the ritual, as if
SOTHEBY’S Dulwich Picture Gallery in the first class of patrons. new visual language that is realism.” they are butchers going about their
6.30PM The History of Now: David Teiger major UK exhibition of the Spanish While Ribera is often seen as The Dulwich Gallery has bor- daily task,” Bray says.
34-35 New Bond Street, W1A 2AA Baroque artist Jusepe de Ribera a successor to Caravaggio, the rowed a marble head of Apollo from Bray and Payne were “keen to
(1591-1652). “These pictures were done Spaniard was also “steeped in the British Museum, which Bray and bring out an element in the exhibi-
CHRISTIE’S
to shock, to create visual impact in classicism”, Bray says. “But those his co-curator Edward Payne suggest tion of skin being a sensory organ”,
1PM Post-war/contemporary art day sale
their day,” says the exhibition’s contradictions go hand-in-hand and is the same one that Ribera painted and so have included a piece of real
8 King Street, SW1Y 6QT
co-curator Xavier Bray. However, they are what make his pictures power- from, which also appears in a 1628 human skin from the 19th century.
PHILLIPS were also “pictures for discussion”. ful in their realism but beautiful in version of the Martyrdom of Saint “Removing [skin] and revealing
5PM 20th-century/contemporary Ribera: Art of Violence focuses on their aesthetic realisation.” Bartholomew and in The Sense of what is beneath it can be full on,”
art evening sale eight monumental paintings, such as Touch (1632). Unfortunately, the Bray says. But “we felt strongly
30 Berkeley Square, W1J 6EN
RIBERA: © MUSEO E REAL BOSCO DI CAPODIMONTE

SOTHEBY’S
7PM Contemporary art evening sale
34-35 New Bond Street, W1A 2AA
SATURDAY 6 OCTOBER
SOTHEBY’S
11AM Contemporary art day sale
34-35 New Bond Street, W1A 2AA
Apollo and Marsyas (1637) from the
Museo e Real Bosco di Capodimonte
in Naples, in a thematic hang that
includes drawings, prints and even
a piece of human skin.
The “scenes of extreme violence”
are informed by what [Ribera] would
While Ribera is seen
as heir to Caravaggio,
he was also “steeped
in classicism”
British Museum would not allow
the sculpture to be displayed on its
back as it appears in the paintings,
Bray explains.
Ribera realised early on that Saint
Bartholomew was the perfect “leit-
motif”, Bray says. The show includes
that it would wake up the viewer
to comprehend what Ribera was
working with.”
The exhibition’s main sponsor
is the Centro de Estudios Europa
Hispánica.
José da Silva
 22 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018

CALENDAR
Frieze week
of Saint Jerome
UNTIL 24 FEBRUARY 2019
• Listings are arranged The Photographers’ Gallery
• Alex Prager: Silver Lake Drive
alphabetically by area UNTIL 14 OCTOBER
(central, north, east, • Tish Murtha: Works 1976-1991
UNTIL 14 OCTOBER
south and west) The Queen’s Gallery
• Splendours of the Subcontinent
• Commercial galleries UNTIL 14 OCTOBER
are marked with W Wellcome Collection
• Living with Buildings
4 OCTOBER-3 MARCH 2019
WAlan Cristea Gallery
• Anni Albers: Connections—
○ Central London Prints 1963-84
UNTIL 10 NOVEMBER
Barbican WAlison Jacques Gallery
• The Hull of a Large Ship • Hannah Wilke
UNTIL 11 NOVEMBER UNTIL 21 DECEMBER
• Francis Upritchard: Wetwang Slack WAlmine Rech Gallery
UNTIL 6 JANUARY 2019 • A New Spirit Then, a New
British Museum Spirit Now, 1981-2018
• I Object: Ian Hislop’s Search for Dissent UNTIL 17 NOVEMBER
UNTIL 20 JANUARY 2019 • Early 21st Century Art
Delfina Foundation UNTIL 17 NOVEMBER
• Noor Afshan Mirza and WAlon Zakaim Fine Art
Brad Butler: The Scar • Mauro Perucchetti: Nuvole
UNTIL 1 DECEMBER UNTIL 31 OCTOBER
Foundling Museum WAnnely Juda Fine Art
• Lily Cole: Balls • Alan Charlton: Grey Paintings
UNTIL 2 DECEMBER UNTIL 3 NOVEMBER
• Kitty Clive WBen Brown Fine Arts
UNTIL 30 DECEMBER • José Parlá: Echo of Impressions
• Ladies of Quality & Distinction UNTIL 9 NOVEMBER
UNTIL 20 JANUARY 2019 WBernard Jacobson Gallery
• First Among Equals • William Tillyer An installation view of Mika Rottenberg’s NoNoseKnows (2015), inspired by Chinese factories that produce cultured pearls
UNTIL 13 JANUARY 2019 UNTIL 24 NOVEMBER
Institute of Contemporary Arts
• Metahaven: Version History
WBlain|Southern
• Sean Scully: Uninsideout Goldsmiths CCA debuts with Rottenberg retrospective
UNTIL 13 JANUARY 2019 UNTIL 17 NOVEMBER
• Queens Row: Richard Maxwell WBonhams Mika Rottenberg university and its labyrinthine space are video works and installations that often
UNTIL 13 OCTOBER • The Congo Beat: Modern and Goldsmiths Centre for Contemporary Art (CCA) the perfect foil for Mika Rottenberg’s first immerse us in a world bordering on the
Korean Cultural Centre UK Contemporary Congolese Art UNTIL 4 NOVEMBER major show in the capital. The show surreal but anchored enough in reality to
• Yunchul Kim: Dawns, Mine, Crystal UNTIL 4 OCTOBER Goldsmiths CCA, one of London’s spans the New York-based artist’s career offer real bite. In the video installation
UNTIL 3 NOVEMBER WConnaught Brown newest public galleries, has opened to date, from her degree show work NoNoseKnows (Artist Variant) (2015), the
Museum of London • Henri Martin in a former plant-works building Mary’s Cherries (2004) to recent pieces hand-operated fan inducing the
• Night Visions UNTIL 20 OCTOBER converted by the Turner Prize-winning such as Cosmic Generator (2017-18). The protagonist’s noodle-making sneezes is
UNTIL 11 NOVEMBER WCortesi Gallery architecture collective Assemble. Its exhibition gives an insight into the driven by a worker in a Chinese pearl
Votes for Women • Jan Henderikse: Mint location on the campus of Goldsmiths development of Rottenberg’s visceral cultivating factory. J.S.
UNTIL 6 JANUARY 2019 UNTIL 20 NOVEMBER
National Gallery • Herman de Vries: All All All
• Thomas Cole: Eden to Empire UNTIL 30 NOVEMBER WLisson Gallery, Bell Street UNTIL 15 DECEMBER • Philippe Parreno UNTIL 2 NOVEMBER
UNTIL 7 OCTOBER WDavid Zwirner • Dan Graham: Rock ‘n’ Roll WMichael Werner Gallery UNTIL 10 NOVEMBER WThe Vinyl Factory Space
• Ed Ruscha: Course of Empire • Kerry James Marshall UNTIL 3 NOVEMBER • Pierre Puvis de Chavannes WPippy Houldsworth Gallery • Bookmarks: Revisiting the Hungarian
UNTIL 7 OCTOBER UNTIL 10 NOVEMBER WLévy Gorvy UNTIL 10 NOVEMBER • Mary Kelly: Face-to-Face Art of the 1960s and 1970s
• Courtauld Impressionists WFlowers, Cork Street • Lord Duveen, My Pictures Never Look WMother’s Tankstation Limited UNTIL 3 NOVEMBER UNTIL 14 OCTOBER
UNTIL 20 JANUARY 2019 • Michael Kidner: in Black and White So Marellous As When You Are Here • Mairead O’hEocha: Irises in the Well WRedfern Gallery WThomas Dane Gallery
• Mantegna and Bellini UNTIL 13 OCTOBER UNTIL 12 JANUARY 2019 UNTIL 27 OCTOBER • Paul Feiler and Catharine Armitage • Michael Landy: Scaled-Down
UNTIL 27 JANUARY 2019 WFrith Street Gallery, Golden WLuxembourg & Dayan WNahmad Projects UNTIL 27 OCTOBER UNTIL 17 NOVEMBER
• Boilly: Scenes of Parisian Life Square and Soho Square • Sublime Hardware • Lucio Fontana: i Teatrini WRobilant + Voena WTimothy Taylor
UNTIL 19 MAY 2019 • Daniel Silver UNTIL 8 DECEMBER UNTIL 10 DECEMBER • Pietro Consagra • Kiki Smith: Woodland
• Sorolla: Spanish Master of Light UNTIL 3 NOVEMBER WMarian Goodman Gallery WOlivier Malingue Gallery UNTIL 16 NOVEMBER UNTIL 27 OCTOBER
UNTIL 7 JULY 2019 WGagosian, Britannia Street • Kemang Wa Lehulere • Suspension: a History of Abstract WRonchini Gallery WTornabuoni Art
National Portrait Gallery • Chris Burden: Measured UNTIL 20 OCTOBER Hanging Sculpture 1918-2018 • Rebecca Ward: Silhouettes • Afro: Gesture, Line and Colour, the
• Michael Jackson: On the Wall UNTIL 26 JANUARY 2019 WMarlborough Contemporary UNTIL 15 DECEMBER UNTIL 15 NOVEMBER Making of an Abstract Expressionist
UNTIL 21 OCTOBER WGagosian, Davies Street • Antoine Catala WOmer Tiroche Gallery WSadie Coles HQ, Davies Street UNTIL 1 DECEMBER
Royal Academy of Arts • Urs Fischer: Dasha UNTIL 13 OCTOBER • Mao and His Portrayal in • Paul Anthony Harford WTyburn Gallery
• Oceania UNTIL 3 NOVEMBER WMarlborough Fine Art Chinese Contemporary Art UNTIL 10 NOVEMBER • Michele Mathison: Dissolution
UNTIL 10 DECEMBER WGagosian, Grosvenor Hill • Paula Rego: From Mind to Hand, UNTIL 14 DECEMBER WSadie Coles HQ, Kingly Street UNTIL 17 NOVEMBER
ROTTENBERG: PHOTO: ANDY KEATE; COURTESY OF THE ARTIST AND GOLDSMITHS CCA. MACLEAN: COURTESY THE ARTIST AND ZABLUDOWICZ COLLECTION; PHOTO BY DAVID BEBBER

• Renzo Piano • Joe Bradley: Day World Drawings from 1980 to 2001 WPace, Burlington Gardens • Martine Syms: Grand Calme WVictoria Miro, Mayfair
UNTIL 20 JANUARY 2019 UNTIL 15 DECEMBER UNTIL 27 OCTOBER • Adam Pendleton: Our Ideas UNTIL 20 OCTOBER • Conrad Shawcross
• Invisible Landscapes WGalerie Kamel Mennour WMassimo De Carlo UNTIL 9 NOVEMBER WSimon Lee Gallery UNTIL 27 OCTOBER
UNTIL 4 MARCH 2019 • Tatiana Trouvé • Kaari Upson WParafin • Gary Simmons: Green Past Gold WVigo Gallery
• Cornelia Parker: Transitional UNTIL 10 NOVEMBER UNTIL 17 NOVEMBER • Melanie Manchot UNTIL 20 OCTOBER • Ibrahim El-Salah
Object (PsychoBarn) WGalerie Max Hetzler WMazzoleni UNTIL 17 NOVEMBER WSkarstedt Gallery UNTIL 25 OCTOBER
UNTIL MARCH 2019 • True Stories • Michelangelo Pistoletto WPilar Corrias • Sue Williams: New Paintings WWaddington Custot
Royal Institute of UNTIL 19 OCTOBER UNTIL 24 NOVEMBER • Ian Davenport: Colourscapes
British Architects WGalerie Thaddaeus Ropac WSprovieri UNTIL 8 NOVEMBER
• Disappear Here • Tom Sachs: Swiss Passport Office • Pedro Cabrita Reis, Jimmie WWhite Cube, Mason’s Yard
UNTIL 24 NOVEMBER 5 OCTOBER-10 NOVEMBER Durham, Cildo Meireles • Julie Mehretu: Sextant
Sir John Soane’s Museum • George Baselitz: a Focus on the 1980s UNTIL 23 NOVEMBER UNTIL 3 NOVEMBER
• Purely Ornamental UNTIL 10 NOVEMBER WSprüth Magers WWren Gallery
UNTIL 14 OCTOBER WGazelli Art House • Lucy Dodd: Miss Mars • David Stewart: Paid Content
• Out of Character • Aziz and Cucher UNTIL 17 NOVEMBER UNTIL 17 NOVEMBER
UNTIL 18 NOVEMBER 6 OCTOBER-18 NOVEMBER WStephen Friedman Gallery
Somerset House WHauser & Wirth, Savile Row • Tom Friedman: Always the Beginning
• Hannah Perry: Gush • Zeng Fanzhi: In the Studio UNTIL 3 NOVEMBER
UNTIL 4 NOVEMBER UNTIL 10 NOVEMBER WStuart Shave/Modern ○ North London
• Athi-Patra Ruga WHerald St, Museum St Art, Helmet Row
4 OCTOBER -6 JANUARY 2019 • Markus Amm & Nicole Wermers • Forrest Bess Ben Uri Gallery
Store Studios UNTIL 10 NOVEMBER UNTIL 1 DECEMBER • Liberating Lives
• Strange Days: Memories of the Future WHollybush Gardens WThe Fitzrovia Chapel UNTIL 7 OCTOBER
UNTIL 9 DECEMBER • Charlotte Johannesson: Solo •Yinka Shonibare MBE • Art and Art Book Sale
Tate Britain UNTIL 3 NOVEMBER UNTIL 6 OCTOBER UNTIL 7 OCTOBER
• Anthea Hamilton: The Squash • Charlotte Prodger WThe Gallery of Everything British Library
UNTIL 8 OCTOBER UNTIL 3 NOVEMBER • Art + Revolution in Haiti Windrush: Songs in a Strange Land
• Turner Prize WJohn Martin Gallery UNTIL 11 NOVEMBER UNTIL 21 OCTOBER
UNTIL 6 JANUARY 2019 • Uwe Walther: Paintings 2015-18 An installation view of Rachel Maclean’s new film Make Me WThe Mayor Gallery Camden Arts Centre
• Jesse Darling: The Ballad 4 OCTOBER-27 OCTOBER Up (2018), at the Zabludowicz Collection in north London • Billy Apple • Amy Sillman: Landline
 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018 23

international modern
and contemporary art fair
milan

UNTIL 6 JANUARY 2019 Whitechapel Gallery • Mika Rottenberg

Estorick Collection • Surreal Science: Loudon Collection UNTIL 4 NOVEMBER
• Neo Futurist Collective Presents: with Salvatore Arancio • Ivor Cutler: Good Morning!
Make Futurism Great Again UNTIL 6 JANUARY 2019 How are you? Shut Up!
UNTIL 21 OCTOBER • Mikhail Karikis: No Ordinary Protest UNTIL 4 NOVEMBER
• A New Figurative Art 1920- UNTIL 6 JANUARY 2019 Hayward Gallery
1945: Works from the Giuseppe • Elmgreen & Dragset: This Is • Drag: Self-portraits and Body Politics
Iannaccone Collection How We Bite Our Tongue UNTIL 14 OCTOBER
UNTIL 23 DECEMBER UNTIL 13 JANUARY 2019 • Space Shifters
Freelands Foundation • Staging Jackson Pollock UNTIL 6 JANUARY 2019
• Look UNTIL 24 MARCH 2019 Horniman Museum and Gardens
UNTIL 27 OCTOBER • Ulla von Brandenburg: Sweet Feast • Colour: The Rainbow Revealed
Parasol Unit UNTIL 31 MARCH 2019 UNTIL 28 OCTOBER
• Heidi Bucher WCarlos/Ishikawa Imperial War Museum
UNTIL 9 DECEMBER • Stuart Middleton: Improvers • Paul Cummins and Tom Piper:
The Showroom UNTIL 27 OCTOBER Poppies—Wave and Weeping Window
• Lungiswa Gqunto, Pamela Phatsimo WFlowers, Kingsland Road UNTIL 18 NOVEMBER
and Emma Wolukau-Wanambwa • John Loker: Six Decades • Renewal: Life after the First
UNTIL 26 JANUARY 2019 UNTIL 27 OCTOBER World War in Photographs
Zabludowicz Collection WHales London UNTIL 31 MARCH 2019
• Jordan Wolfson: 360 • Mary Webb: Reverie • I Was There: Room of Voices
UNTIL 21 OCTOBER UNTIL 27 OCTOBER UNTIL 31 MARCH 2019
• Josefine Reisch WHerald St Gallery, Herald St • Mimesis: African Soldier
UNTIL 28 OCTOBER • Diane Simpson UNTIL 31 MARCH 2019
• Rachel Maclean UNTIL 11 NOVEMBER Jerwood Space
UNTIL 16 DECEMBER WKate MacGarry • Survey
WLisson Gallery, Lisson Street • J.B. Blunk UNTIL 16 DECEMBER
• Rodney Graham: Central UNTIL 20 OCTOBER Newport Street Gallery
Questions of Philosophy WL’étrangère • Martin Eder: Parasites
UNTIL 3 NOVEMBER • Yelena Popova UNTIL 13 JANUARY 2019
WPark Village Studios UNTIL 3 NOVEMBER Studio Voltaire
• Chris Levine: Inner [Deep] Space WMaureen Paley • The Oscar Wilde Temple:
UNTIL 9 OCTOBER • AA Bronson and General Idea McDermott & McGough
WVictoria Miro, Wharf Road UNTIL 11 NOVEMBER UNTIL 31 MARCH 2019
• Yayoi Kusama: the Moving Moment WNunnery Gallery South London Gallery
When I Went to the Universe • Visions in the Nunnery: Tina Keane • Rory Pilgrim: the Resounding Bell 5 – 7 april, 2019
UNTIL 21 DECEMBER UNTIL 28 OCTOBER UNTIL 21 OCTOBER preview 4 april
WSeventeen • Knock Knock: Humour in fieramilanocity – miart.it
• Gabriel Hartley: Landscapes Contemporary Art
UNTIL 13 OCTOBER UNTIL 18 NOVEMBER
○ East London WStuart Shave / Modern Tate Modern
Art, Vyner Street • Shape of Light: 100 Years of
Auto Italia • Jacqueline Humphries Photography and Abstract Art
• Gran Fury: Read My Lips UNTIL 10 NOVEMBER UNTIL 14 OCTOBER
UNTIL 2 DECEMBER WThe Approach • Christian Marclay: The Clock
Autograph • Caitlin Keogh: Alphabet and Daggers UNTIL 20 JANUARY 2019
• Arpita Shah: Purdah—the Sacred Cloth UNTIL 11 NOVEMBER The Bower
UNTIL 3 NOVEMBER • Lucy Gunning: My Heart
27 SEP

W1S 4HZ
LONDON

27 ALBEMARLE STREET
Omar Victor Diop: Liberty/Diaspora is Like a Singing Bird
UNTIL 3 NOVEMBER UNTIL 28 OCTOBER —— 15 DEC
Cell Project Space ○ South London The Queen’s House, Greenwich
• Alan Michael: Astrology and the City • Mat Collishaw: The Mask of Youth 2018
UNTIL 11 NOVEMBER Drawing Room 3 OCTOBER-3 FEBRUARY 2019
Chisenhale Gallery • From the Inside Out WArcadia Missa
• Lawrence Abu Hamdan UNTIL 11 NOVEMBER • Maggie Lee: Music Videos
UNTIL 9 DECEMBER Dulwich Picture Gallery UNTIL 27 OCTOBER
Space • Ribera: Art of Violence WCorvi-Mora
• Soufiane Ababri UNTIL 27 JANUARY 2019 • Dorota Jurczak & Walter Keeler: Flora
UNTIL 24 NOVEMBER Gasworks UNTIL 3 NOVEMBER
Wapping Hydraulic • James N. Kienitz Wilkins: Hearsays WDanielle Arnaud Gallery
Power Station UNTIL 16 DECEMBER • Nicky Coutts
• Focus Kazakhstan: Postnomadic Mind Goldsmiths Centre for
UNTIL 16 OCTOBER Contemporary Art (CCA)  CONTINUED ON PAGE 25

Head south of the river for light relief

Knock Knock: Humour
in Contemporary Art
South London Gallery
UNTIL 18 NOVEMBER
South London Gallery’s
new space, the Fire Station,
has finally swung its large doors
open to the public. The mid
19th-century building that once
housed fire engines, the horses
that pulled them, as well as
firemen and their families, has
been revamped by 6a architects,
keeping much of its domestic
scale but also providing a
light-filled triple-height entrance
(look up as you enter to see an
old first-floor fireplace). The Fire
Station makes its debut with a
show on humour in art,
organised by the gallery director
CURATED BY

Margot Heller and the artist

Ryan Gander. It includes Joyce
ALBERTO

Pensato’s vast new drawing

commission, Take Me to Your
Leader (2018) and Judith
LUCAS: PHOTO: ANDY STAGG

Hopf’s Flock of Sheep (2017),

FIZ

sheltering beneath the stairs

Sarah Lucas’s Yves (2018) is in the South London Gallery’s show of the new space. J.S.
 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
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 THE ART NEWSPAPER FRIEZE ART FAIR DAILY EDITION 4 OCTOBER 2018 25

CALENDAR
Frieze week
 CONTINUED FROM PAGE 23

Satellite fairs UNTIL 13 OCTOBER

WGreengrassi
• Janice Kerbel
UNTIL 3 NOVEMBER
WHannah Barry Gallery
• James Capper: Ways to
Make a Ship Walk
UNTIL 27 OCTOBER
WJGM Gallery
• Martin Maloney: Field Workers
UNTIL 26 OCTOBER
WThe Sunday Painter
• Nicholas Pope: Sins and Virtues
UNTIL 10 NOVEMBER
WWhite Cube, Bermondsey
• Doris Salcedo
UNTIL 11 NOVEMBER
• Anselm Kiefer
UNTIL 11 NOVEMBER The supermodel Naomi Campbell wears Azzedine Alaïa in 1991.
The late fashion designer’s work is on show at the Design Museum

Art from the Khartoum School UNTIL 27 JANUARY 2019

○ West London UNTIL 25 NOVEMBER • Videogames: Design/Play/Disrupt
• Black Mirror: Art as Social Satire UNTIL 24 FEBRUARY 2019
RUGA: COURTESY OF THE ARTIST AND WHAT IF THE WORLD. ALAÏA: COURTESY OF ELLEN VON UNWERTH

Design Museum UNTIL 13 JANUARY 2019 WJack Bell Gallery

• Azzedine Alaïa: the Couturier Serpentine Galleries • Boris Nzebo: Zombi
UNTIL 7 OCTOBER • Serpentine Pavilion : Designed UNTIL 19 OCTOBER
• Beazley Designs of the Year by Frida Escobedo WJD Malat Gallery
The Night of the Long Knives I (2013) by the South African artist Athi-Patra Ruga, with Cape Town’s What If UNTIL 6 JANUARY 2019 UNTIL 7 OCTOBER • Zümrütoglu: Mirror of Darkness
the World gallery at the 1-54 Contemporary African Art Fair Mosaic Rooms • Pierre Huyghe UNTIL 13 NOVEMBER
• Behjat Sadr: Dusted Waters UNTIL 10 FEBRUARY 2019 WLyndsey Ingram
1-54 Contemporary Moniker Art Fair PAD London UNTIL 8 DECEMBER • Atelier E.B.: Passer-By • Sarah Graham
African Art Fair The Old Truman Brewery, Berkeley Square, W1 • Modern Masters and Contemporary UNTIL 6 JANUARY 2019 UNTIL 2 NOVEMBER
Somerset House, WC2R 1LA 91 Brick Lane, E1 5QL UNTIL 7 OCTOBER Culture from the Arab World and Iran Victoria and Albert Museum WMichael Hoppen Gallery
4-7 OCTOBER 4-7 OCTOBER UNTIL 14 SEPTEMBER 2019 • The Future Starts Here • Sawatari Hajime
Sunday Art Fair Saatchi Gallery UNTIL 4 NOVEMBER UNTIL 15 OCTOBER
The Anti Art Fair The Other Art Fair Ambika P3, University of • Penumbra • Frida Kahlo: Making Herself Up • Shashin: Are-Bure-Boke
Unit 8, 133 Copeland Road, Victoria House and The College, Westminster, 35 Marylebone UNTIL 21 OCTOBER UNTIL 4 NOVEMBER UNTIL 12 NOVEMBER
Peckham, SE15 3SN Southampton Row, WC1B 4AP Road, NW1 5LS • Into a Light • Jameel Prize 5 WOctober Gallery
4-7 OCTOBER 4-7 OCTOBER 4-7 OCTOBER UNTIL 28 OCTOBER UNTIL 25 NOVEMBER • Aubrey Williams
• Forests and Spirits: Figurative • Fashioned From Nature 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 4 OCTOBER 2018

DIARY
On the town

When Renzo met Richard We shall overcomb

There was a high-rise love-in earlier this week when Richard Rogers de- A sculpture inspired by the world’s most famous combover is stopping
clared his man-crush on Renzo Piano at Frieze’s annual art and architec- visitors in their tracks on the stand of Simon Lee gallery at Frieze Lon-
ture conference. The architects of the Centre Pompidou in Paris faced a don. Fair-goers can savour Donald Trump’s bouffant hairdo remodelled
critical mauling when it opened in 1977 (those Post-Modern tubes and in foam and aqua resin to resemble a curled-up foetus by the stalwart US
external elevators were just too much for les snobs). “Everyone hated political satirist Jim Shaw. The artist says that Trump’s “well-kept” locks
it… every bit of media for around seven years was like shit pouring “verge on the feminine and have become a huge part of the president’s
from the sky,” Rogers told the enraptured audience. But his ardour for appeal. His hair is a distraction from what he is actually saying.” The
Genoa-based Piano was a consolation. “We immediately hit it off… we entire stand is in the gaudy style of Trump’s Mar-a-Lago estate in Palm
fell in love with each other. We spoke to each other in Italian,” Rogers Beach, Florida—complete with a sumptuous suite of new paintings
said. Proof indeed that a bromance can endure through the ages. depicting figures such as the Republican mega-donors Robert and Re-
bekah Mercer—as well as some taste(ful/less) mock-Louis XVI furniture.

Keep ’em peeled

True bromance: Renzo Piano (left) and Richard Rogers have not
looked back—or down—since creating the Centre Pompidou Two ladies dressed in distinctive pink security-guard outfits are striding through

SCHER AND HENROT: LOUISA BUCK. PIANO/ROGERS: JACQUES MINASSIAN. SHAW: © DAVID OWENS/THE ART NEWSPAPER. BECKHAM: DAVID M. BENETT/DAVE BENETT/GETTY IMAGES FOR LAZINC
the aisles of Frieze London this week, keenly scrutinising all before them. They
are in fact a work of art, Security 2, devised by the US artist Julia Scher as “ther-
apy for our fear of the unknown”. These candy-clad women offer a playful alter-
Dialling up the stress native to the usual burly blokes in black suits, and Scher says that their agenda is
much more benign. “To watch, to see, is their primary objective,” she says, adding
that she recruited the performers for the “quality of their eyes and the strength Jim Shaw’s Rumpelstiltskin (2018) depicts the US president in a
of their gaze”. Punchy in Pepto-Bismol pink, big sisters are watching you. somewhat more contemplative mood than we are used to

Beckham Jr wears his art under his sleeve

Brooklyn Beckham, David and
Artoon by Pablo Helguera
Victoria’s eldest scion, popped into
Lazinc gallery in Mayfair this week
for a show of works by the late art-
ist Rammellzee (A Roll of Dice, until
10 November), an epochal figure in
the rap and hip-hop movement in
1980s New York. With his goatee
Jo Stella-Sawicka (left) and Diana Campbell Betancourt try out beard, Brooklyn now looks like an
Camille Henrot’s less-than-helpful self-help telephones art-world regular, but his favourite
work might just be underneath his
As if the stresses of Frieze were not enough, the fair’s artistic director, clothes. Beckham Jr’s Instagram
Jo Stella-Sawicka, and Frieze Projects curator Diana Campbell Betan- feed reveals an impressive tattoo
court were spotted subjecting themselves to an earful from Camille collection, including a Renaissance-
Henrot’s decidedly unhelpful self-help telephones. These sculptural inspired set of cherubs and angels
devices are one of this year’s Projects and offer callers a bizarre range on his chest, courtesy of the Los
of prerecorded options, including “Dawg Shaming” for canine misde- Angeles-based artist Doctor Woo.
meanours, “Bad Dad and Beyond” with YouTube links to instances of Evidently pleased with his swanky
appalling brutality and a particularly phallic handset that resonates skin art, he told his 11.5 million
with the sinister voice of a Russian-sounding Santa Claus. followers: “Bloody love it, mate.”

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

AMIR NIKRAVAN
22 January – 9 March 2019

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