THE ART NEWSPAPER|FRIEZE ART FAIR|3 OCTOBER 2019 ISSUE 2|FREE EVERY DAY

MASTHEAD

Art world faces up to the JOANNA

BY

RAJKOWSKA

reality of climate crisis

Many dealers are
beginning to look for
local solutions to global
What does it mean to
climate emergency you to be European?
“My British husband was recently asked

F
or the past two decades, the art
world has fully embraced globalisa-
tion. But now, in light of the climate
crisis, many in the trade are looking
closer to home when it comes to
where and how they do business. In the case of
mammoth pop-up events such as Frieze, one’s
carbon footprint has become the biggest issue.
Members of the climate change group
Extinction Rebellion gathered at the entrance to
Frieze London yesterday in a bid to engage the
VIPs pouring into the fair. The aim, says activist
Will Skeaping, is to get those in a position of
power to recognise their part in the climate
emergency. “The amount of money spent on art
is outrageous compared to what is spent on fight-
ing the climate crisis,” he says. “No one will care
about art when the food runs out.” The activist
group is urging collectors to swap their Manolo
Blahniks for trainers and walk between Frieze
London and Frieze Masters instead of taking a
shuttle. Extinction Rebellion is also hosting a
talk at the fair on Sunday, with its London-wide
protests due to begin the following day.
Other interventions staged at Frieze London
yesterday included a protest by the artist and
academic Kate McMillan, and a piece by Massimo
PATRICK GODDARD: © DAVID OWENS. JOANNA RAJKOWSKA: COURTESY OF THE ARTIST. JOY LABINJO: TIWANI CONTEMPORARY
Patrick Goddard’s Blue Sky Thinking (2019) uses dead parakeets to bring home the climate change message
temporality of our environment”.
Although there are no immediate plans for
Frieze to sign the Culture Declares Emergency
pledge, the fair has made efforts to reduce its
carbon footprint by switching to a more effective
support and advice to achieve this,” she says.
As Siddall notes, dealers are already taking
steps to become more eco-friendly. Sree
Goswami, the founder of Mumbai’s Project 88,
has shipped works by sea for the past three years.
by a clerk at the local home office in
Kujawsko-Pomorskie, Poland, ‘Why
on earth would you want to stay in this
country?’, to which he replied: ‘Because
I am more European than British.’ The
clerk then wearily stood up, straight-
ened his well-worn suit, and announced:
‘No one will ever kick you out of this
country,’ and laughed incredulously.”
Joanna Rajkowska is a Polish-born
artist living in London and Warsaw. Her
huge interactive sculpture of a black-
bird’s egg, The Hatchling, is on view in
Regent’s Park as part of Frieze Sculpture
until 6 October. It was commissioned
by l’etrangere gallery, which is hosting
a solo show of Rajkowska’s work at
its east London space (The Failure of
Mankind, until 31 October).
INSIDE

Agostinelli, which consisted of a block of ice
left to melt outside the fair’s entrance. The less
compelling version of Olafur Eliasson’s Ice Watch
was swiftly removed by security. Agostinelli says
the work “is a visual reminder of the fragility and
renewable biofuel this year. In an email sent
to dealers last week, Frieze’s director Victoria
Siddall called on galleries to work with the fair
to ship art by land and sea. “There is still plenty
of work to be done and we are reliant on your
She now chooses to do three art fairs annually:
in Asia, the US and Europe. “It’s about achieving
a balance; we have to maintain our international
CONTINUED ON PAGE 2 
AFRICAN WOMEN
The market is hot, hot, hot for female
artists from the continent PP7-8

ELIZABETH PEYTON
The US artist on Kurt Cobain, the

Frieze sales JOY LABINJO

Joy Labinjo, A Celebration
of Sorts, 2019
A Celebration of
Sorts (2019)
TIWANI CONTEMPORARY,
FRIEZE LONDON
Three paintings inspired by a family
album by the British-Nigerian artist Joy
Labinjo sold out within two hours of the
fair’s VIP opening. The works, priced
at £10,000 each, went to private and
institutional buyers. J.S.
ELIZABETH PEYTON
Kiss (2019)
GALERIE THADDAEUS
ROPAC, FRIEZE LONDON
As London’s National Portrait Gallery
opened its Elizabeth Peyton exhibition,
at Frieze London, Thaddaeus Ropac sold
the US painter’s Kiss (2019), depicting
Clint Eastwood and Meryl Streep in the
1995 film The Bridges of Madison County
for $575,000 to an Asian collector. A.B.
STANLEY WHITNEY
Four Corners (2019)
fantasy film Twilight and how she ended
up painting a museum director in his
shorts PP16-17
LISSON GALLERY, FRIEZE LONDON
It turns out that the Hollywood star and FRIEZESCOPE
artist Sylvester Stallone is a fan of the Super-efficient Virgos are reminded
Brooklyn-based painter Stanley Whitney. to play nice and let their hair down by
The Rocky actor and his wife, Jennifer our resident mystic, who looks to the
Flavin, apparently bought one of the four
stars to help Earth signs navigate Frieze
new paintings by Whitney that sold at
the VIP opening for between $350,000
Week P25
and $450,000. A.B.

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 2 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2018
NEWS
International
Icy threat wins
2019 Frieze
Artist Award
Himali Singh Soin’s Arctic-inspired video draws on
climate change fears of today and the 19th century
T
he winner of the 2019
Frieze Artist Award prac-
tices what she preaches.
Creating work that
explores humankind’s
impact on the planet, the London- and
Delhi-based artist Himali Singh Soin
uses video and performance as a way
of minimising her practice’s carbon
footprint. “I don’t use any materials
Singh Soin’s work was informed by the Victorians’ fear of an ice age, with
publications of the period depicting polar bears marauding across London Bridge
Art world faces up to
scale of climate crisis
 CONTINUED FROM PAGE 1
business,” she says. Many of her artists
address climate change in their work,
including Bangladeshi Munem Wasif,
who is showing cyanotype prints of
grains of rice, priced at £15,000.
London’s Kate MacGarry is among
a growing group of dealers who are
embracing a more local approach,
choosing to participate in fairs closer
to home. “In the art world, the word
‘local’ has a stigma attached to it; it’s
A thriving
community
for the arts
OP E NIN G M AY 2020
that are wasteful and I don’t have
stacks of storage,” she says. “I feel like a
piece gets made on the spot and then it
evaporates once it is done. Ecologically
speaking, that is part of the aesthetic
I’m cultivating.”
Her new commission for Frieze
London, We Are Opposite Like That II
(2019), is a 12-minute, single-channel
video made from footage of her trip to
always been about the international,”
she says. “But now we need to look
more locally in terms of food, travel—
and art.” This year, MacGarry is doing
Fiac in Paris for the first time: “It’s on
our doorstep and we can get there in
two hours by train.”
She is also exploring the use of bio-
degradable materials such as packaging
made from mycelium, a fungus-based
product. However, she stresses that
such moves are a drop in the ocean,
and government intervention is crucial
to bring about any real change.
This year’s Frieze Artist Award
winner is Himali Singh Soin, whose
film We Are Opposite Like That II (2019)
the Arctic in 2017. It is the second film
in what she hopes will become a four-
part series based on the polar regions.
Behind the icy imagery is an
intriguing piece of 19th-century British
history: the Victorians believed that
an Ice Age was imminent. “It was
omnipresent,” Singh Soin says. “It was
the same for them as we are talking
about climate change right now.” The
fear came from what is known as the
Little Ice Age, from around 1300 to
the mid-1800s, when the winters in
Europe and North America became
dramatically colder. “In the video, I
include imagery from Punch magazine
and London Illustrated of polar bears on
London Bridge that show this anxiety,”
Singh Soin says.
The Victorians were even more
fearful of the encroaching ice because
of its potential to wipe out the British
Empire. “It threatened the annihilation
of their centrality in the world,” she
says, quoting a line from the film. She
uses these stories as a metaphorical
response to this year’s Frieze Artist
Award theme of “state of the nation”.
In the film, Singh Soin builds on
the idea of an “alien other creeping in
explores today’s climate emergency.
Meanwhile, packing a punch on
Seventeen’s stand is Patrick Goddard’s
Blue Sky Thinking (2019), priced at £18,000
“We are not the
liberal, progressive
sector we like to
think we are”
and featuring 180 dead ring-necked par-
akeets made from salvaged lead. The
gallery’s director Dave Hoyland says:
“It’s going to take a disaster like all the
ME MB E R S HIP @ C RO M W E L L P L A C E. C O M
In We Are Opposite Like That II,
Singh Soin’s character journeys
across a frozen landscape
and threatening the very foundation
of Britain”. Her character wanders
in the frozen landscape dressed in a
metallic blanket, like the ones given
to refugees. “The central moment is
this alien character transforming into
ice, which in itself is alien to her,” she
says. The video is accompanied by an
original score by her husband, David
Soin Tappeser, that is played by a string
quartet, along with a poetic voiceover
by the artist.
While her video indirectly refers
to the xenophobic sentiment behind
Britain’s impending exit from the
EU, Brexit is also a personal concern
for Indian-born Singh Soin, whose
residency in the UK is reliant on her
German partner’s right to remain in
the country. “It’s a savage limbo,” she
says. Responding to the political nature
of her new commission, she adds: “Art
is inherently political. I don’t know
about making political art as such,
because that tends to be bad. But I do
think artists have to be good citizens.”
Aimee Dawson
• We Are Opposite Like That II, 1pm, 4-6
October, The Standard, London Library &
Auditorium, Frieze London
birds dying for people to take notice of
the climate crisis.”
Kate McMillan suggests that the
art fair model needs to be radically
overhauled. “Frieze Art Fair, and
the art market more broadly, is like
capitalism on speed. We are not the
liberal, progressive sector we like to
think we are—quite the opposite,” she
says. “How many flights we take and
the journey of the art we buy is just
the beginning of these questions. We
need to come up with new, sustainable
models that walk more lightly in this
world, and questioning the art fair
must happen straight away.”
Anny Shaw and Gareth Harris
| C RO M W E L L P L A C E. C O M
Mantegna
sketch is
unveiled
SOTHEBY’S IS TODAY unveiling a
newly attributed drawing by Andrea
Mantegna, the Renaissance master’s
only known preparatory sketch for the
painting series The Triumphs of Caesar
(around 1480-1506) at Hampton Court
Palace. The pen-and-ink sketch, which
appeared in the recent Mantegna and
Bellini exhibition at London’s National
Gallery, is now on view in the auction
house’s travelling show in Hong Kong.
Believed to be one of only two works
by the artist still in private hands, it
is expected to fetch more than $12m
when it is offered for sale in New York
in January. A.C.
The preparatory sketch for The
Triumphs of Caesar is expected
to fetch $12m at auction
Art Basel set
to go large at
Miami Beach
ISAAC JULIEN AND FRANK
BOWLING are among the 30 artists
selected by Art Basel in Miami Beach
(5-8 December) to participate in the
fair’s new Meridians section for large-
HIMALI SINGH SOIN: COURTESY OF THE ARTIST. MANTEGNA: COURTESY OF SOTHEBY’S
scale installations, videos and perfor-
mances. Julien, presented by Victoria
Miro gallery, is due to show Lina Bo
Bardi-A Marvellous Entanglement
(2019), a nine-screen video installation
on the Italian-born Brazilian Modernist
architect. Hales Gallery will show Africa
to Australia (1971), a 6m-wide abstract
canvas by Bowling. Magalí Arriola
of the arts organisation Kadist and
curator of Mexico’s presentation at this
year’s Venice Biennale is curating the
section. The full list of artists is due to
be announced next week. A.B.
4 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019
COMMENT
A sustainable art
world: greenwash or
genuine commitment?
Louisa Buck Contributing editor, Diary, London, The Art Newspaper
I
n the art world right now,
green is undoubtedly the
new black. Visitors to Frieze
have the option of substitut-
ing a shuttle bus or VIP car
for a bracing walk between Frieze
Masters and Frieze London, escorted
by members of the climate activist
group Extinction Rebellion (XR) who
are primed to discuss the extent
of the environmental crisis with
collectors. Inside the fair, represent-
atives of XR’s sister organisation
Culture Declares Emergency are
selling a print to raise both funds and
environmental awareness. Frieze has
long prided itself on its eco-creden-
tials, from commissioning a green
guide in 2010 to switching to Green
D + fuel and a hybrid battery system
to reduce emissions, to recycling
the materials used to build the tent.
This year, even the VIP cards have
gone digital.
Expressions of environmental
concern can also be heard across the
wider art world. The theme of the
recently opened Istanbul Biennial is
The Seventh Continent—a reference
to the vast island of plastic waste
floating in our seas as “the ultimate
symbol of the Anthropocene, a new
geological era in which human activ-
ity is wreaking a drastic effect on
Earth”. Criticism of arts organisations
accepting BP sponsorship rumbles
on, and this summer the Tate, which
ended its association with the oil
and gas company in 2016, declared
a climate emergency, pledging “to
interrogate our systems, our values
and our programmes, and to look for
ways to become more adaptive and
responsible”. These include a commit-
ment to reduce its carbon footprint by
at least 10% by 2023 and switching to a
green electricity tariff across all four
of its galleries.
Just this week, a wall panel accom-
panying Kara Walker’s Hyundai Com-
mission for Tate Modern’s Turbine
Hall states that her piece Fons Ameri-
canus “has been made using an envi-
ronmentally conscious production
process”. The sculptures and structure
are made “from recyclable or reusable
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cork, wood and metal”, and the jes-
monite surface is made from “a non- How would the
toxic acrylic and cement composite”.
Yet applaudable as these gestures
international art
are, their impact on the immediate world function in
crisis facing our planet is negligible.
As the Amazon burns, the ice caps the face of drastic
melt, and climate change denial
holds sway under the Trump admin- restrictions in
istration, for the art world to make a
difference there needs to be a genuine
air travel?
engagement with the fact that it
is also a key part of the problem. models for a cleaner, greener future.
This needs to be accompanied by a In terms of its world-renowned insti-
genuine desire for profound changes tutions, and the multitude of pow-
in how the business of showing and erful collectors, this is a sector with
selling art is conducted. immense economic and political clout.
How would the structure of the Whether it is prepared to use it is
international art world—and espe- another matter. Yet if it doesn’t, there
cially art fairs—function in the face of may be nothing left to save. As XR’s
drastic restrictions in air travel? Or if Will Skeaping puts it: “On our current
the only permissible building materi- trajectory of global warming and eco-
LOUISA BUCK: DAVID OWENS/THE ART NEWSPAPER
als were recycled or recyclable? Or if logical destruction, civilisation may
there was legislation stipulating zero not survive.” And what value would
emissions? The art world needs to art hold when we run out of food?
harness its unique powers of creativity • A panel discussion, organised by Culture INSTALL TODAY
from the iOS app
to propose a meaningful new modus Declares, is due to take place at Frieze
store or go to
operandi and to implement alternative London, Sunday, 6 October, 12pm
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
B R I T I SH S C U L P T U R E
S I N C E T H E 19 6 0 S
Barry Flanagan, metal 2 ’64 (detail), 1964. © Estate of Barry Flanagan (photo: David Ward)
A N T H O N Y C A RO
B A R RY F L A N AG A N
RICHARD LONG
WI L L I A M T U R N B U L L
R AC H E L WH I T E R E A D
A L I S O N WI L D I N G
28 September – 6 October 2019
Karsten Schubert
1 Park Village East
London NW1 7PX
www.karstenschubert.com
A five-minute walk from Frieze Masters
C Y T VVO M B LY . S C U L P T U R E

Cy Twombly, Untitled, 2002 © Cy Twombly Foundation

G AG O S I A N LO N D O N
Yin Xiuzhen, Bookshelf No. 3, 200–2013, Worn clothes and wood, 150 × 94 × 28 cm

October 3–6, 2019

Booth C11
Regent’s Park
Frieze Art Fair

FEATURES
Market trends
African women
BUCK THE TREND
KUDZANAI-VIOLET HWAMI: PHOTO BY ANDY KEATE, COURTESY OF THE ARTIST AND TYBURN GALLERY. MARY SIBANDE: © THE ARTIST
The growing success of female artists from the continent
marks an exciting shift in the market. By Anny Shaw
Left: Bira (2019) by Kudzanai-
Violet Hwami appears in the
artist’s first institutional solo
show at Gasworks, while Mary
Sibande has her UK debut
at Somerset House, which
features I’m a Lady (2009)
THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019
R
ecent research suggests
that, for African
artists, it pays to be
female. Contrary to
markets in the US
and Europe where
male artists command higher prices,
four women lead the auction table:
Marlene Dumas ($6.3m), Julie Mehretu
($5.6m), Irma Stern ($4m) and Njideka
Akunyili Crosby ($3.4m). This correlates
with an ArtTactic report, published in
July, on auction sales of Modern and
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
contemporary African art between 2016
and 2019, which found that the average
price for female artists was consistently
higher than for males. In 2019, women
fetch on average $91,338, compared
with $19,555 for men. However, the
number of lots sold by male artists in
2019 far outweighs those by women:
680 versus just 131.
Despite the positive strides being
made by women in this field, though,
Hannah O’Leary, the head of Modern
and contemporary African art at
Sotheby’s, sounds a note of caution.
“This story is more about African
artists being undervalued. If you look
at the market as a whole, Africa is still
so underrepresented: it’s less than
1%,” she says. “We have a long way
to go before we actually see a true
representation of diversity, but we are
witnessing the beginnings of that.”
Indeed, being pale and male still
wins in the art world. But, if the
number of exhibitions on women from
Africa on show this week in London
is anything to go by, significant steps
are being made to redress the glaring
imbalances.
The South African photographer
Mary Sibande has her first solo show
in the UK at Somerset House (until 5
January 2020), while the non-profit
space Gasworks is hosting Kudzanai-
Violet Hwami’s first ever institutional
solo show. She is one of four artists
to represent Zimbabwe at the Venice
Biennale this year and has just been
signed by Goodman Gallery. Further
afield, Nigerian-born Otobong Nkanga
has her first UK museum show at Tate
St Ives.
As the established parameters of
culture are dispatched with, private
collectors are also looking to fill the
gaps in their collections. Prices are duly
rising for female artists from Africa.
The young Nigerian artist Njideka
Akunyili Crosby is a case in point.
7
According to the Wall Street Journal,
her paintings—usually executed on
paper—were selling for $3,000 just five
years ago. Two years after being signed
by the Victoria Miro gallery, Akunyili
Crosby first appeared at auction in
September 2016, when an untitled
work from 2011 sold for nearly $100,000
with fees. Within two months she
broke the $1m mark and within six
months her work was selling for more
than $3m. She achieved her record for
a richly layered botanical collage, Bush
Babies (2017), at Sotheby’s in New York
in May 2018.
Such a leap at auction does not
always equal long-term success,
however, and, for women in particu-
lar, it can be difficult to thrive in mid
career. Even with institutional support,
Akunyili Crosby told the Wall Street
Journal last year: “My friends tell me
I should just be happy my works are
selling, and I am. It’s scary how vulner-
able I still feel.”
Akunyili Crosby appears in an all-fe-
male group exhibition, organised by
the British artist Isaac Julien, at Victoria
Miro’s space in Hoxton. Its title, Rock
My Soul (until 2 November), is borrowed
from a book by the black feminist
scholar Bell Hooks on black people
and self-esteem. Other artists include
the South African visual activist Zanele
 CONTINUED ON PAGE 8
 8 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019

FEATURES
Market trends

 CONTINUED FROM PAGE 7 of a cycle of songs chosen by survivors

Muholi, the Kenyan artist Wangechi
Mutu and the Gambian-British
photographer Khadija Saye, who died
in 2017 in the Grenfell Tower fire in
London. Victoria Miro is offering a
portfolio of nine silkscreens by Saye,
priced between £10,000 and £25,000,
of rape.
Gender-based violence is an urgent
issue in South Africa and many artists
are grappling with it in their work.
Speaking last month at the home of
the Johannesburg collector Pulane
Kingston, who estimates that 90% of her
collection consists of works by female

with proceeds benefiting the Khadija
Saye IntoArts Programme.
The exhibition combines new and
historical works. Julien points out
that while some of these artists have
been working for an incredibly long
time, what is new is “the presence of
black, women and non-binary artists
in exhibitions at this scale”. He adds:
“Are these exhibitions correctives? Or
merely stating the obvious?”
For Liza Essers, the director of South
Africa’s Goodman Gallery, which opens
its first space in London this week, it
is a question of visibility. Since taking
the helm ten years ago, she has signed
34 artists, 19 of whom are women.
She is also championing parity at
Frieze London, with half her six-artist
stand devoted to work by women:
Sue Williamson, Tabita Rezaire and
Kapwani Kiwanga. Prices start at an
affordable €8,000.
Goodman gallery’s first London
show is an exhibition centred on the
idea of social repair. Here, too, the
gender split is roughly even—ten of
the 22 artists are women. The show’s
title, I’ve grown roses in this garden of
mine, takes its moniker from the South
African artist Gabrielle Goliath’s latest
work, This song is for… (2019), priced at
$70,000). The 12-channel video consists
artists, Mary Sibande described her
depression in the days following the
brutal rape and murder of 19-year-old
Uyinene Mrwetyana in a post office
in Cape Town. “For the first time I felt
scared to be a woman,” she says. “South
Africa is a violent place and I’m at the
point where I want to know why.”
Sibande’s Somerset House
exhibition, I Came Apart at the Seams,
hosted in partnership with the 1-54
Contemporary African Art Fair,
marks the first time a woman has
been chosen for the main exhibition.
The fair’s founder Touria El Glaoui is
striving for balance; this year 1-54 has
a roughly equal number of solo shows
by female and male artists, including a
special commission of photographs by
the Ethiopian artist Aida Muluneh. But
inequality still persists in the overall
number of artists at the fair, as just 31%
are women. But “these numbers are
improving each edition”, El Glaoui says.
At Frieze London, female African
artists are becoming more visible.
London’s Tiwani Contemporary
makes its debut at the fair with a solo
presentation of figurative paintings
by Dagenham-born Joy Labinjo that
draw on her British-Nigerian heritage.
Labinjo has a show due to open at the
“There is a genuine sense that institutions
Baltic Centre for Contemporary Art in
MUHOLI: COURTESY OF STEVENSON, CAPE TOWN/JOHANNESBURG AND YANCEY RICHARDSON, NEW YORK. KHADIJA SAYE: © THE ESTATE OF KHADIJA SAYE, COURTESY THE ESTATE OF KHADIJA SAYE
Above: Silkscreens from
Kadija Saye’s series Dwelling:
In this Space we Breathe
(2017-18) and Zanele Muholi’s
Cebo II; Philadelphia (2018)
will feature in Isaac Julien’s
all-female show Rock My Soul
at Victoria Miro gallery
Gateshead on 19 October.
Lagos-born Maria Varnava, who
founded the gallery in 2011, cites the
Tate establishing its Africa Acquisitions
Committee the same year as a turning
point. “There is a genuine sense that
institutions now want to build global
collections,” she says.
Growing a pan-African collec-
tor base for contemporary art is a
necessary next step, Varnava believes.
“We need that local patronage. It’s
not a matter of survival: it’s a matter
of growth and growth happening
now want to build global collections” equally,” she says.

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 Rana Begum, info@cristearoberts.com
detail from No. 947 Wall Drawing, 2019 www.cristearoberts.com
+44 (0)20 3621 2730
INFO@OLIVIERMALINGUE.COM
 44,000 SQ FT OF GROUND AND LOWER GROUND
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Raoul De Keyser: Modern Master David Zwirner Online
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Across 2 (Avond), 2000–2001

Nate Lowman: October 1, 2017 David Zwirner London
October 3 – November 9, 2019 24 Grafton Street

Picture 1, 2019
 12
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
Alia Al-Senussi
T
he collecting habits of the
art patron and consultant
Alia Al-Senussi were once
described by her close
friend as “collecting experi-
ences”. Al-Senussi agrees: “I collect a life
for myself and for my loved ones that is
centered around art and the art world,”
she says. Born in the US into a royal
family that once ruled Libya, Al-Senussi
has a particular interest in art and
artists from the Middle East, and cur-
rently serves as Art Basel’s UK, Middle
East and North Africa representative.
Now based in London, Al-Senussi
has just received her PhD from the
School of Oriental and African Studies
in London, looking at power and
cultural patronage, and using Saudi
Arabia as a case study. She also works
with the Milken Institute as their
adviser for arts and culture.
50 Leading Dealers
THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019
THE ART NEWSPAPER: How did you
first get into collecting?
ALIA AL-SENUSSI: The works in my
home are those that remind me of
the artists who are my friends and
collaborators, the institutional shows
I have supported, my art pilgrimages,
and the people who make a positive
impact on my life.
What was the first piece of art that
you bought?
Something unbelievably random at the
Arco Madrid fair: a maroon-coloured
woodcut that is now in storage. But
I suppose it allowed me the mental
space for my first real piece, which
is something that will remain with
me forever: a Walid Raad/Atlas Group
work from the Missing Lebanese Wars
series, which I acquired from Anthony
Reynolds at Art Basel.
BRITISH ART FAIR
3 - 6 October 2019
Special Exhibitions: YBA, Alan Davie & David Inshaw
for more information and tickets, visit britishartfair.co.uk
What is the most recent work you
have bought?
For my 30th birthday, my friends
worked with Taryn Simon to present
me with a work from her Contraband
series (if you know me at all you’ll
also understand the irony of that). For
my 35th birthday, I decided to throw
a wedding for myself in Marrakech—
mostly to celebrate 1-54 fair’s African
debut, but also as an excuse to bring
my crew to the Arab world. My friends
gave me a Robert Mapplethorpe
1980 photograph of Lisa Lyon, the
first World Women’s Bodybuilding
Champion and a photo model. The
accompanying note said: “It epitomises
strength, independence, resilience
and beauty—basically it’s an image of
you!” There’s a copy of this work in the
Guggenheim collection, which I work
closely with. The work represents all
Alia Al-Senussi describes
herself as a collector of life
that I love in my friends and all that I
love in general, as an American who is
deeply troubled by what is happening
in my country.
What is the most expensive work in
your collection?
Let’s reinterpret expensive and say
that among my most treasured works
(besides my birthday gifts) is a sche-
matic drawing on an Arts Club napkin
“It represents all
that I love in my
friends and all that
I love in general”
by Theaster Gates of his first White
Cube show. I’ve framed it in a
double-sided box with the Bloomington,
Minneapolis, Police Department pen
that I gave him to draw it.
If your house was on fire, which
work would you save?
My mother’s ivory—part of her previ-
ous life with my father and a part of
our life story from Egypt and beyond.
If money was no object, what would
be your dream purchase?
A soothing Rothko.
Which work in your collection
requires the most maintenance?
I have not yet arrived at that point
in my life, but perhaps it will be my
Campana Brothers animal chair, as I
truly believe that it is something to be
used and utilised.
What is the most surprising place
you have displayed a work?
Display is probably not the right word,
but you can “discover” work under
my beloved futon and every couch
and chair.
Which artists, dead or alive, would
you invite to your dream dinner
party?
Georgia O’Keeffe, Maha Malluh and
Hassan Hajjaj—at [James Turrell’s]
Roden Crater [in Arizona].
Which purchase do you most regret?
None, it doesn’t cross my mind.
Although my mother does harass me
about a particularly graphic work on
my wall—I hid it behind a door so she
doesn’t have to see it when she’s home
with me.
Interview by Aimee Dawson
Saatchi Gallery
THE ART NEWSPAPER
Frieze Art Fair editions
THE ART NEWSPAPER
Editor The Art Newspaper Alison Cole
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
PUBLISHING AND COMMERCIAL
Publisher Inna Bazhenova
Honorary chairman Anna Somers Cocks
Chief executive Russell Toone
Associate publisher, fairs and events media
Stephanie Ollivier
International Head of subscriptions
Steven Kaminski
Global head of sales Kath Boon
Head of sales (the Americas) Kathleen Cullen
Advertising sales director Henrietta Bentall
Business Co-ordinator/Sales Executive (the
Americas) Sarah Vitale
Design/production (commercial)
Daniela Hathaway
TO ADVERTISE, PLEASE CONTACT:
UK, Europe and rest of world Kath Boon
T: +44 (0)203 586 8041
E: k.boon@theartnewspaper.com
Americas Kristin Troccoli
T: +1 212 343 0727
E: k.troccoli@theartnewspaper.com
CONTACT US:
In the UK: The Art Newspaper,
17 Hanover Square, London W1S 1BN
T: +44 0203 586 8054
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In the US: 130 West 25th Street, Suite 9C,
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Published by U. Allemandi & Co. Publishing Ltd,
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© The Art Newspaper, 2019
All rights reserved. No part of this newspaper may be
reproduced without written consent of the copyright
proprietor. The Art Newspaper is not responsible for
statements expressed in the signed articles and interviews.
While every care is taken by the publishers, the contents
of advertisements are the responsibility of the individual
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Subscribe online at
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 CALIBER RM 16-01
FRAISE

www.richardmille.com
 14
IN PICTURES
Frieze fashion
Perry ’s
y
P(a r t)
picks
The artist with a flair for fashion tells us who
wore it best at Frieze London’s VIP opening
In his current show at Victoria Miro,
Grayson Perry targets art collectors,
gently ribbing the privileged one per
cent over their art-buying habits. So, we
know what he thinks of their taste in art,
but what does he make of their fashion
choices? We wanted to find out, so we
asked Perry to pick his top looks at the
opening of Frieze London yesterday.
“It’s like the Olympic final of collect-
ing: the runners are doing up their laces,
getting ready to go and acquire that hot
thing they hope will complete their col-
lection,” he said as the doors opened
and anxious collectors came streaming
in. “The serious collectors are in running
gear—so they get what they want.”
Perry was sporting a defiant “dad
look” but with a “Frieze twist”, he said,
which meant bright yellow Crocs, cordu-
roys and a bespoke floral fleece. “You see
women walking around in stilettos here
and you think: you don’t collect art, do
you? Or you collect very little.” But heels
are getting rarer these days, he observed.
“I think that’s great. For me, I’m a
59-year-old transvestite. I’m of an age
THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019
The Belgian collector Charles
Kaisin was wearing a coat by
Walter van Beirendonck, the
head of the fashion department
Grayson Perry of the Royal Academy of Fine Arts
was sporting Antwerp: “Think you’re going
“defiant dad” with to be hot, though,” Perry said.
a “Frieze twist” “You’re suffering for your art”
The Tate director
Maria Balshaw
is “always one of
the best-dressed
people in the art
world”, Perry
said. She was
wearing a vintage
necklace, a skirt
by Roksanda
Ilinčić and a jacket
by Whistles
A Milan-based collector was wearing a dress she
bought in Los Angeles. “I’ve had enough of black,”
she said. Her bag was by Issey Miyake
when I can’t wear high heels anymore. If
fashion goes in the direction where you
can wear it with flats, I’m all for it.”
A few years ago, he decided to stop
coming to Frieze as his alter-ego Claire
because “he couldn’t move” for selfie
hunters. Still, he is always “pro-effort”, he
said. “I like ugly people who make loads
of effort, I don’t want effortlessly beauti-
ful people; I like to see artifice and craft.”
Bold colours are key and black is
out of the question. Colour is a political
matter for him, too: a way for the patri-
archy to reinforce itself. “You look at a
normal group of men and they’re all in
black. It’s all about being invisible: they
are the watchers, not the watched.”
The “hot trainer” is definitely the way
ALL PHOTOS: © DAVID OWENS/THE ART NEWSPAPER
to go these days, he noted, but “art-world The Californian
black” is still holding out. Here’s his pick collector and artist
of those who brought some extra flair to Gilena Simons sported
the fair this year. a tattoo that read
Interview by Julia Michalska “patroness of the
Photographs by David Owens arts”. “It’s a fabulous
• Grayson Perry: Super Rich Interior look,” said Perry. “I feel
Decoration, Victoria Miro, London, until under-dressed now”
20 December
 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019 15

The collector The Monaco-based collector Safia

Penny Govett was El Malqui was wearing a coat by
wearing a vintage Valentino, which made her feel
Gaultier jumpsuit “like a bird; but that’s ok”, she said

Kristin Olafsdottir,
a documentary
film-maker, was
wearing a suit by
Victoria Beckham.
“That’s a good name
to drop!” Perry said

The collector
Jacqueline Appel was
wearing a Burberry
coat “from quite
a few years ago”.
Perry said: “Isn’t it
fantastic that it still
looks great now?”
ALL PHOTOS: © DAVID OWENS/THE ART NEWSPAPER

Tali Zeloof is a patron

and the director of
Quintessentially. She
was wearing a skirt
by Emilio Pucci and
a necklace by Marni
 16 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019

INTERVIEW
Artists

Elizabeth Peyton:
Face to face
with history
In her new solo show at the National
Portrait Gallery, the artist connects the
past with the present. By Louisa Buck

T
he US artist Elizabeth Peyton is
known for her lushly painted
portraits of subjects ranging
from Napoleon and Louis XVI
to former Oasis frontman Liam
Gallagher and climate change
crusader Greta Thunberg. Her
first exhibition in the UK was in a south London
pub in 1995; this week, she becomes the first artist
to have a solo show in London’s National Portrait
Gallery (NPG) to be interspersed throughout its
historical collections. We asked her about the exhi-
bition, how she chooses her subjects and having
Eizabeth Peyton’s first UK show, in 1995, was in a south London pub the NPG director Nicholas Cullinan as a sitter.
ELIZABETH PEYTON: PHOTO: VINOODH MATADIN AND INEZ VAN LAMSWEERDE; © ELIZABETH PEYTON
THE ART NEWSPAPER: How do you feel about
your work being shown alongside portraits
spanning more than five centuries?
ELIZABETH PEYTON: I’m excited and honoured,
especially to have my pictures shown with the
Tudor paintings. There’s an individuality and a
heightened expression among those powerful
people of how they wanted to represent them-
selves to the world. One of the juxtapositions I’m
most thrilled by is seeing a painting of Elizabeth I
next to my painting of [the musician] Kurt Cobain.
He almost looks like he is dead in a beatific way,
and she also looks between life and death. I was
thinking about what happens to somebody when

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

eyeofthecollector.com
 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019 17

they are looked at so much and how those two

people are icons now; they both have this quality
of being super-human in the way they are present-
ing themselves. They each look similar to the way
that they have made themselves look, but through
different means and for different ends.

Are there any other placements of your

work in the show that you would like to
single out?
I was conscious in the Victorian galleries that
TWILIGHT: COURTESY NEUGERRIEMSCHNEIDER, BERLIN. ALIZARIN KURT: COURTESY THE BRANT FOUNDATION, © ELIZABETH PEYTON. RAPHAEL (NICK READING): PHOTO: KRISTIAN EMDAL, © ELIZABETH PEYTON, COURTESY GALLERY THADDAEUS ROPAC

it was an era that celebrated romantic love,

but it was also one that oppressed a certain
kind of romantic love and expression. So, I
placed my painting of the two lovers in the
film Twilight next to Harriet Goodhue Hosmer’s
bronze-cast clasped hands of the poets Robert
and Elizabeth Barrett Browning. Also in the
Victorian galleries are a number of drawings and
faces of the US rapper Tyler, the Creator, which I
have hung with other portraits of very contempo-
rary people. 

As well as portraying historical and con-

temporary figures, you also make pictures
directly from other paintings by artists such
as Giorgione, Delacroix and Leonardo. How do
you choose your subjects?
I start with my intuition. I don’t really think about
who I should paint. The choosing is a very natural
thing: this is what I am thinking about right now,
or what or who I think is important in the world.
I am always looking for something to make me
feel better or feel something. Things such as art,
music, nature or people who, for me, do heroic
things. Watching the news and seeing Greta
Thunberg’s face makes me happy. Then when I’m
painting, I try not to think too much and just let it
happen in the paint.  see in life and that is a readymade thing for me.
One of your subjects featured in the show is
the NPG’s director Nicholas Cullinan. How did
that come about?
It took about three years for it to happen.
When Nick was at the Metropolitan Museum of
Art in New York, he would come around and I
would get 45 minutes or an hour. Then he came
to Copenhagen where I was staying at the time;
I thought this should be a bit different and that
we should go for a long walk before we had the
sitting. We ended up talking about our mothers:
I was asking him for some advice and he shared
some things with me. Initially I was going to have
Clockwise from above: Peyton’s National Portrait Gallery show sees Twilight (2009),
Alizarin Kurt (1995) and Raphael (Nick Reading) (2018) juxtaposed with works from the
museum’s historical collections
“When someone is
right there in front
of me, I don’t want of photographs from my really messy computer
to waste their time” screen and even the ones I take, I love to photo-
graph again and again. They have reflections in
them and heightened colour that you would not
him sit in the studio but it seemed too stuffy. Pictures made from life have much more
There he was, in his shorts, so I said: why not urgency: when somebody is right there in front
go into the living room? I never had anybody sit of me, I don’t want to waste their time. Inevitably
there before. I gave him this giant book on they are going to leave and so when I see some-
Raphael, and he was kind of falling asleep. I thing, and I’m excited, I have to capture it very
then realised that this painting was going to be a quickly. I want to keep on painting from life. I
lot more intimate than I had anticipated, and actu- think it’s magic: two people in a room who both
ally it was the beginning of a friendship as well. have faith in the situation. It is a very special kind
of attention.
You paint from reproductions, from the pho- • Elizabeth Peyton: Aire and Angels, National
tographs that you take and from life. How do Portrait Gallery, London, until 5 January 2020
these different approaches play out? • The artist will be in conversation with Nicholas
More and more I find myself working from pho- Cullinan, the director of the National Portrait Gallery,
tographs that are distorted. I take photographs at Frieze Masters today at 3pm
voena

robilantvoena.com

The Magazine
of Italian Art
IL LIBRO

Luciano Fabro,
L’Italia d’Oro, 1971
vol.1 - fall 2019

Ufficio culturale Ambasciata di Israele - Roma

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 3 OCTOBER 2019 21

CALENDAR
Frieze week
○ Auctions
THURSDAY 3 OCTOBER
BONHAMS
4PM Modern/contemporary
African Art sale
The
5PM Post-war/contemporary
art evening sale
101 New Bond Street, W1S 1SR
PHILLIPS
Empire
2PM Contemporary art day sale
30 Berkeley Square, W1J 6EX
SOTHEBY’S
7PM Contemporary art evening sale
strikes
back?
34-35 New Bond Street, W1A 2AA
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
Kara Walker’s abundant
8PM Thinking Italian Venus is set to cause a splash
8 King Street, SW1Y 6QT
SATURDAY 5 OCTOBER
in Tate Modern’s Turbine Hall
CHRISTIE’S
1PM Post-war/contemporary day sale
8 King Street, SW1Y 6QT Hyundai Commission: Kara Walker
Tate Modern
Bankside, SE1 9TG
UNTIL 5 APRIL 2020
• Listings are arranged
LONDON. The US artist Kara Walker takes on
alphabetically by area (central, the delicate subject of the British Empire’s
north, east, south and west) legacy in her monumental 13m high fountain,
unveiled this week in Tate Modern’s Turbine Hall.
• Commercial galleries are Fons Americanus (until 5 April), which rises from two
marked with W oval basins filled with water, is modelled on the
grandiose Victoria Memorial unveiled in front of
Buckingham Palace in 1911.
The piece—the latest Hyundai Commission—
○ Central London explores the interconnected histories of Africa,
America and Europe over the centuries, referenc-
Barbican ing the Transatlantic slave trade and, at the same
Silk Street, EC2Y 8DS time, taking a swipe at the British Empire. The
• Into the Night: Cabarets and Clubs in Modern Art work, made of recyclable cork and softwood, offers
4 OCTOBER-19 JANUARY 2020 a “powerful critique, inverting the usual function
• Trevor Paglen: from Apple to Anomaly of memorials and questioning the narratives of
UNTIL 16 FEBRUARY 2020 power they present”, a Tate statement says.
British Museum “We hope that the public will engage with the
Great Russell Street, WC1B 3DG work and question the monuments we inherited in
• Portrait of the Artist: Käthe Kollwitz our cities to look at where these monuments come
UNTIL 12 JANUARY 2020 from and the official accounts of our histories,” says
Foundling Museum the Tate’s senior curator Clara Kim.
40 Brunswick Square, WC1N 1AZ Walker also links the work to the debate raging
• Two Last Nights! over the legitimacy of Confederate statues in the
UNTIL 5 JANUARY 2020 US. “The Confederate debate has been interest-
House of Illustration ing in that it makes me feel that the US is a very Fons Americanus is inspired by the Victoria Memorial and references the Transatlantic slave trade
2 Granary Square, N1C 4BH young country… there has only recently been a
concerted national conversation about what those Mistry, the Tate’s assistant curator of international
• Designed in Cuba: Cold War Graphics
UNTIL 19 JANUARY 2020 monuments are, what they mean,” Walker said at a art. “But the allegorical figure of melancholy is “The Confederate debate
Institute of Contemporary Arts (ICA)
12 Carlton House Terrace, The Mall, SW1Y 5AH
press briefing.
“What the Confederate debate and removal of
half hiding under her skirt, which may be a part of
Queen Vicky’s persona.”
has unearthed the
• Honey-Suckle Company: Omnibus statues from places like New Orleans has done is Venus stands atop the fountain, recast as racism and cruelties that
UNTIL 12 JANUARY 2020 not just reignite the debate but has unearthed the a priestess from Afro-Brazilian and Caribbean
• Untitled (The Form of the Flower racism and cruelties that have lived quietly under religions, spurting water from her bosoms “in an have lived under the
is Unknown to the Seed) the surface for some time,” she said. act of blessing the world, an act of pure joy and
UNTIL 6 JUNE 2020 The work draws upon historic and contempo- liberation”, he adds. surface for some time”
Korean Cultural Centre UK rary references, including John Singleton Copley’s A separate sculpture by Walker, located towards
Grand Buildings, 1-3 Strand, WC2N 5BW 1778 painting Watson and the Shark, Winslow the Turbine Hall entrance, depicts a scalloped shell, People are already speculating about where the
• Negotiating Borders Homer’s The Gulf Stream (1899) and Damien Hirst’s which touches on artistic depictions of the birth fountain might be sited next. “I would hope some
UNTIL 23 NOVEMBER formaldehyde shark from The Physical Impossibility of of Venus. “In Venus’s place, you see a crying boy aspect of it would have another life. It has all the
Museum of London Death in the Mind of Someone Living (1991). in a well, which references Bunce Island in Sierra possibilities for living beyond its present [form] or
KARA WALKER: PHOTO © TATE

150 London Wall, EC2Y 5HN Humour also permeates the piece. A figure at Leone—a colonial commercial fort where slaves it could be the final Turbine hall installation, and
• Beasts of London the back is a light-hearted take on Queen Victoria were traded and boarded ships before making the could be permanently installed,” Walker joked.
UNTIL 7 JANUARY 2020 called Queen Vicky. “She is full of life,” says Priyesh trip across the Atlantic,” Mistry says. Gareth Harris

 CONTINUED ON PAGE 22

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New episode every week | theartnewspaper.com/podcast

The Art
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PODCAST
 22 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019

CALENDAR
Frieze week
 CONTINUED FROM PAGE 21 • Four Giants of British Modernism
UNTIL 19 OCTOBER
National Portrait Gallery WBen Brown Fine Arts

Light and
St Martin’s Place, WC2H 0HE 12 Brook’s Mews, W1K 4DG
• BP Portrait Award • Enoc Perez: the Cinematic Self
UNTIL 20 OCTOBER UNTIL 22 NOVEMBER
• Elizabeth Peyton: Aire and Angels WBernard Jacobson Gallery
3 OCTOBER-5 JANUARY 2020
Ozwald Boateng
30 Savile Row, W1S 3PT
Crossroads by Youssouf Sogodogo
28 Duke Street, SW1Y 6AG
• Some of the Artists I Have Worked For
UNTIL 5 OCTOBER
WBlain|Southern
shadow
UNTIL 18 OCTOBER 4 Hanover Square, W1S 1BP
Royal Academy of Arts • Henning Strassburger: Karma Mansion Rembrandt’s Light
Burlington House, Piccadilly, W1J 0BD UNTIL 16 NOVEMBER Dulwich Picture Gallery
• Helene Schjerfbeck • Michael Simpson: New Paintings 4 OCTOBER-2 FEBRUARY 2020
UNTIL 27 OCTOBER UNTIL 16 NOVEMBER To mark the 350th anniversary of
• Antony Gormley WCortesi Gallery Rembrandt’s death, the Dulwich Picture
UNTIL 3 DECEMBER 41 & 43 Maddox Street, W1S 2PD Gallery has invited the Hollywood
Royal Institute of British • Giuseppe Santomaso: Animate Painting cinematographer Peter Suschitzky to devise
Architects (RIBA) UNTIL 26 OCTOBER “an atmospheric visitor experience” for its
66 Portland Place, W1B 1AD • Heinz Mack: The Breath of Light latest exhibition, Rembrandt’s Light, which
• Beyond Bauhaus UNTIL 15 NOVEMBER explores the artist’s use of light and shadow
UNTIL 1 FEBRUARY 2020 WCristea Roberts Gallery to convey different moods. Suschitzky is best
• László Moholy-Nagy in Britain 43 Pall Mall, SW1Y 5JG known as the man behind the overall visual
UNTIL 1 FEBRUARY 2020 • The Interaction of Colour styles of several well-known films, such as
Somerset House UNTIL 26 OCTOBER The Rocky Horror Picture Show (1975) and
Strand, WC2R 1LA WDavid Gill Galleries Star Wars: The Empire Strikes Back (1980).
• Water Life by Aida Muluneh 2-4 King Street, SW1Y 6QP The cinematographer has long been inspired
UNTIL 20 OCTOBER • Sebastian Brajkovic by the Old Masters, in particular Rembrandt
• Mary Sibande: I Came UNTIL 17 OCTOBER who strove “to find a universal truth in the
Apart at the Seams WDavid Zwirner human condition and used light to create
3 OCTOBER-5 JANUARY 2020 24 Grafton Street, W1S 4EZ motion and emotion”, he says. “This parallels
Tate Britain • Nate Lowman cinematography, where sculpting light and
Millbank, SW1P 4RG 3 OCTOBER-9 NOVEMBER directing the gaze of the viewer to the
• Mike Nelson: The Asset Strippers WFlowers, Cork Street desired place in an image is essential for
UNTIL 6 OCTOBER 21 Cork Street, W1S 3LZ powerful storytelling.” The exhibition
• Spotlights: The Bauhaus and Britain • Robert Polidori: Fra Angelico/ features a thematic display of 35 paintings,
UNTIL 17 NOVEMBER Opus Operantis drawings and etchings. D.L.
• Mark Leckey UNTIL 12 OCTOBER
UNTIL 5 JANUARY 2020 WFrith Street Gallery, Rembrandt’s A Woman bathing in a Stream
• William Blake Golden Square (Hendrickje Stoffels?) (1654)
UNTIL 2 FEBRUARY 2020 17-18 Golden Square, W1F 9JJ
The Arts Club • Danyanita Singh
40 Dover Street, W1S 4NP UNTIL 9 NOVEMBER
• Etel Adnan and Illse D’Hollander WGagosian, Britannia Street WJohn Martin Gallery WOmer Tiroche Gallery WSouthard Reid • Patrick Caulfield
UNTIL 1 JANUARY 2020 6-24 Britannia Street, WC1X 9JD 38 Albemarle Street, W1S 4JG 21 Conduit Street, W1S 2XP 7 Royalty Mews, W1D 3AS UNTIL 15 NOVEMBER
The Perimeter • Sterling Ruby: ACTS + TABLE • Ed Kluz: Facades • Fractures: Esti Drori Hayut • Ann Craven WWhite Cube
20 Brownlow Mews, WC1N 2LE UNTIL 14 DECEMBER UNTIL 5 OCTOBER UNTIL 8 OCTOBER UNTIL 2 NOVEMBER 25-26 Mason’s Yard, SW1Y 6BU
• Ron Nagle WGagosian, Davies Street WJosh Lilley WPace Gallery WSprovieri • Damien Hirst: Mandalas
UNTIL 10 JANUARY 2020 17-19 Davies Street, W1K 3DE 40-46 Riding House Street, W1W 7EX 6 Burlington Gardens, W1S 3ET 23 Heddon Street, W1B 4BQ UNTIL 2 NOVEMBER
The Photographers’ Gallery • Cy Twombly Shop • Derek Fordjour: The House Always Wins • Song Dong: Same Bed Different Dreams • Francesco Arena
16-18 Ramillies Street, WC2 7HY UNTIL 21 DECEMBER 4 OCTOBER-16 NOVEMBER UNTIL 5 NOVEMBER UNTIL 15 NOVEMBER
• Heather Dewey Hagborg WGagosian, Grosvenor Hill WKarnik Gallery WParafin WSprüth Magers
UNTIL 14 NOVEMBER 20 Grosvenor Hill, W1K 3QD 4 Mason’s Yard, SW1Y 6DB 18 Woodstock Street, W1C 2AL 7A Grafton Street, W1S 4EJ ○ North London
• Raúl Cañibano: Chronicles of an Island • Cy Twombly Sculpture • Resonance X Relevance • Nathan Coley • Kara E. Walker
UNTIL 17 NOVEMBER UNTIL 21 DECEMBER UNTIL 20 OCTOBER UNTIL 16 NOVEMBER 3 OCTOBER-21 DECEMBER Aga Khan Centre
The Queen’s Gallery WGalerie Kamel Mennour WLévy Gorvy WPilar Corrias WStephen Friedman Gallery 10 Handyside Street, Kings Cross, N1C 4DN
Buckingham Palace Road, SW1A 1AA 51 Brook Street, W1K 4HR 22 Old Bond Street, W1S 4PY 54 Eastcastle Street, W1W 8EF 25-28 Old Burlington Street, W1S 3AN • Bahia Shehab: At a Corner of a Dream
• Leonardo da Vinci: a Life in Drawing • Neïl Beloufa • Ride the Wild • Tschabalala Self • Jonathan Baldock: Personae UNTIL 5 JANUARY
UNTIL 13 OCTOBER UNTIL 2 NOVEMBER UNTIL 7 DECEMBER UNTIL 9 NOVEMBER UNTIL 9 NOVEMBER Ben Uri Gallery
The Store, 180 The Strand WGalerie Max Hetzler WLuxembourg & Dayan WPippy Houldsworth Gallery WStuart Shave/Modern Art 108a Boundary Road, NW8 0RH
180 The Strand, WC2R 1EA 41 Dover Street, W1 4NS 2 Savile Row, W1S 3PA 6 Heddon Street, W1B 4BT 4-8 Helmet Row, EC1V 3QJ • Friends and Influences
• Other Spaces by United Visual Artists • Albert Oehlen: Spiegelbilder • Reconstructing Cézanne • Francesca DiMattio: Caryatid • Richard Aldrich UNTIL 18 OCTOBER
UNTIL 8 DECEMBER UNTIL 16 NOVEMBER UNTIL 7 DECEMBER UNTIL 19 OCTOBER UNTIL 19 OCTOBER Camden Arts Centre
• Transformer: a Rebirth of Wonder WGalerie Thaddaeus Ropac WLyndsey Ingram WRedfern Gallery WT.J. Boulting Arkwright Road, NW3 6DG
UNTIL 8 DECEMBER Ely House, 37 Dover Street, W1S 4NJ 20 Bourdon Street, W1K 3PL 20 Cork Street, W1S 3HL 59 Riding House Street, W1W 7EG • Christodoulos Panayiotou
• Theaster Gates • James Rosenquist • Bridget Riley-Lines of Enquiry • Large Abstracts • Birth UNTIL 5 JANUARY 2020
4-27 OCTOBER UNTIL 9 NOVEMBER UNTIL 8 NOVEMBER 2019 UNTIL 4 OCTOBER 2019 3 OCTOBER-7 NOVEMBER Estorick Collection
Wellcome Collection WGazelli Art House WM&L Fine Art WRichard Saltoun WThe Mayor Gallery 39a Canonbury Square, N1 2AN
183 Euston Road, NW1 2BE 39 Dover Street, W1S 4NN First Floor, 15 Old Bond Street, W1S 4AX 41 Dover Street, W1S 4NS 21 Cork Street, First Floor, W1S 3LZ • Umberto Boccioni
• Jo Spence and Oreet Ashery • Derek Boshier: Night and Snow • Max Ernst • Feminism in Italian Contemporary Art • Carlos Cairoli UNTIL 22 DECEMBER
UNTIL 26 JANUARY 2020 4 OCTOBER-10 NOVEMBER UNTIL 29 NOVEMBER UNTIL 9 NOVEMBER UNTIL 9 OCTOBER Parasol Unit
WAlison Jacques WGoodman Gallery WMarian Goodman Gallery WRonchini Gallery WThomas Dane Gallery 14 Wharf Road, N1 7RW
16-18 Berners Street, W1T 3LN 26 Cork Street, W1S 3ND 5-8 Lower John Street, W1F 9DY 22 Dering Street, W1S 1AN 3 & 11 Duke Street, SW1Y 6BN • Rayyane Tabet: Encounters
• Betty Parsons: The Queen of the Circus • I’ve Grown Roses in This Garden of Mine • Danh Vo • Conrad Marca-Relli • Luigi Ghirri: Colazione sull’Erba UNTIL 14 DECEMBER
UNTIL 9 NOVEMBER 3 OCTOBER-2 NOVEMBER UNTIL 1 NOVEMBER 5 OCTOBER-21 DECEMBER UNTIL 16 NOVEMBER Zabludowicz Collection
WAlmine Rech Gallery WGrosvenor Gallery WMarlborough Fine Art WSadie Coles HQ WTimothy Taylor 176 Prince of Wales Road, NW5 3PT
Grosvenor Hill, Broadbent House, W1K 3JH 35 Bury Street, St. James’s, W1S 4JF 6 Albemarle Street, W1S 4BY 1 Davies Street, W1K 3DB 15 Bolton St, W1J 8BG • Puck Verkade
• Claire Tabouret: Portraits • Wardha Shabbir: In a Free State • Jonah Freeman and Justin Lowe • Alvaro Barrington • Simon Hantaï, Pierre Soulages UNTIL 20 OCTOBER
UNTIL 16 NOVEMBER UNTIL 18 OCTOBER UNTIL 19 OCTOBER UNTIL 26 OCTOBER and Antoni Tàpies • Shana Moulton
WAmanda Wilkinson WHauser & Wirth, Savile Row WMassimo De Carlo WSadie Coles HQ, Kingly Street UNTIL 19 OCTOBER UNTIL 15 DECEMBER
8 Brewer Street, W1F 0SH 23 Savile Row, W1S 2ET 55 South Audley Street, W1K 2QH 62 Kingly Street, W1B 5QN WTornabuoni Art WLisson Gallery
• Julia Dubsky: The Marshland Akimbo • Mark Bradford Cerberus • White: Work • Co Westerik 46 Albemarle Street, W1S 4JN 67 Lisson Street, NW1 5DA
UNTIL 26 OCTOBER UNTIL 21 DECEMBER UNTIL 16 NOVEMBER UNTIL 2 NOVEMBER • Alighiero Boetti: Works on Paper • Stanley Whitney: Afternoon Paintings
WAnnely Juda Fine Art WHerald St, Museum St WMazzoleni WSimon Lee Gallery UNTIL 8 JANUARY 2020 UNTIL 2 NOVEMBER
Fourth floor, 23 Dering Street, W1S 1AW 43 Museum Street, WC1A 1LY 27 Albemarle Street, W1S 4HZ 12 Berkeley Street, W1J 8DT WVictoria Beckham WLisson Gallery
• Utopia/Dystopia Revisited • Sanou Oumar • Hans Hartung and Art Informel • Clare Woods: Doublethink 36 Dover Street, W1S 4NH 27 Bell Street, NW1 5BY
UNTIL 2 NOVEMBER UNTIL 26 OCTOBER UNTIL 18 JANUARY 2020 UNTIL 6 OCTOBER • Andy Warhol: Sotheby’s • Ai Wei Wei: Roots
• Suzanne Treister WHollybush Gardens WMichael Werner Gallery WSkarstedt Gallery Selling Exhibition UNTIL 2 NOVEMBER
UNTIL 2 NOVEMBER 1-2 Warner Yard, EC1R 5EY 22 Upper Brook Street, W1K 7PZ 8 Bennet Street, SW1A 1RP UNTIL 4 OCTOBER WPark Village Studios
WArcadia Missa • Andrea Büttner: The Heart of Relations • Peter Doig: Painting • KAWS: Blackout WVictoria Miro Mayfair 1 Park Village East, Regents Park,
First floor, 14-16 Brewer Street, W1F 0SG UNTIL 14 DECEMBER UNTIL 16 NOVEMBER UNTIL 9 NOVEMBER 14 St George Street, W1S 1FE NW1 7PX
REMBRANDT: © THE NATIONAL GALLERY, LONDON

• Frieda Toranzo Jaeger WJack Bell Gallery WOctober Gallery WSoft Opening • Grayson Perry: • Karsten Schubert: Dialectic Materialism
UNTIL 26 OCTOBER 13 Mason’s Yard, SW1Y 6BU 24 Old Gloucester Street, WC1N 3AL Picadilly Circus Underground, W1J 9HP UNTIL 20 DECEMBER UNTIL 6 OCTOBER
WBASTIAN Gallery • Lavar Munroe: Strangers in the Night • Life Through Extraordinary Mirrors • Four Courtroom Outfits of Anna Delvey WVigo Gallery WVictoria Miro
8 Davies Street, W1K 3DW UNTIL 8 OCTOBER 2019 UNTIL 23 NOVEMBER UNTIL 24 NOVEMBER 21 Dering Street, W1S 1AL 16 Wharf Road, N1 7RW
• Joseph Beuys WJD Malat Gallery WOlivier Malingue Gallery WSotheby’s S2 Gallery • Biggs & Collings • Rock My Soul
UNTIL 16 NOVEMBER 30 Davies Street, W1K 4NB 143 New Bond Street, W1S 2TP 31 St George Street, W1S 2FJ UNTIL 1 APRIL 2020 UNTIL 2 NOVEMBER
WBeaux Arts Gallery • Robert Montgomery • L’Empreinte • Huang Rui: Wild Children WWaddington Custot • Doug Aitken: Return to the Real
48 Maddox Street, W1S 1AY UNTIL 2 NOVEMBER 2019 UNTIL 13 DECEMBER UNTIL 14 NOVEMBER 11 Cork Street, W1S 3LT UNTIL 20 DECEMBER
 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019 23

• Michael E. Smith • Reason Gives No Answers

UNTIL 14 DECEMBER UNTIL 10 NOVEMBER
○ East London WThe Approach South London Gallery
1st Floor, 47 Approach Road, E2 9LY 65-67 Peckham Road, SE5 8UH
Autograph • Mike Silva: New Paintings • Danh Vo
Rivington Place, EC2A 3BA UNTIL 20 OCTOBER UNTIL 24 NOVEMBER
• Lina Iris Viktor  • Maria Pinińska-Bereś: Living Pink Studio Voltaire
UNTIL 25 JANUARY 2020 UNTIL 20 OCTOBER 1a Nelson’s Row, SW4 7JR
Chisenhale Gallery WUnion Pacific • Mary Reid Kelley and Patrick Kelley
64 Chisenhale Road, E3 5QZ 17 Goulston Street, E1 7TP UNTIL 6 OCTOBER
• Sidsel Meineche Hansen • Theodoros Giannakis Tate Modern
UNTIL 8 DECEMBER UNTIL 26 OCTOBER Bankside Power Station, 25
Whitechapel Gallery Sumner Street, SE1 9TG
77-82 Whitechapel High Street, E1 7QX • Takis
• Anna Maria Maiolino UNTIL 27 OCTOBER
UNTIL 12 JANUARY 2020 ○ South London • Olafur Eliasson
AIR DE PARIS Grand Opening
• Luigi Bonotto Collection UNTIL 5 JANUARY 2020 FONDATION FIMINCO October 20, 2019
UNTIL 1 FEBRUARY 2020 Bermondsey Project Space • Hyundai Commission: Kara Walker GALERIE SATOR
WCarlos/Ishikawa 183-185 Bermondsey Street, SE1 3UW UNTIL 5 APRIL 2020 GALERIE JOCELYN WOLFF 43 rue de la Commune
Unit 4, 88 Mile End Road, E1 4UN • Alexandro Pelaez • Dóra Maurer
• Oscar Murillo: Trades Hall & Institute UNTIL 12 OCTOBER UNTIL 5 JULY 2020
IN SITU FABIENNE LECLERC de Paris—
UNTIL 19 OCTOBER Copeland Gallery WAuto-Italia JEUNE CRÉATION —à Romainville
WFlowers, Kingsland Road 133 Copeland Road, SE15 3SN 434-452 Old Kent Road, SE1 5AG 93230
82 Kingsland Road, E2 8DP • House of African Art • Army of Love & FRAC ÎLE-DE-FRANCE/
• Julie Cockburn: Telling it Slant UNTIL 7 OCTOBER 4 OCTOBER-8 DECEMBER LES RÉSERVES (Prelude) komunuma.com
UNTIL 2 NOVEMBER Drawing Room WCecilia Brunson Projects
WHales Unit 8 Rich Estate, 46 Willow Walk, SE1 5SF Royal Oak Yard, Bermondsey
7 Bethnal Green Road, E1 6LA • Marc Bauer, Mal Être/Performance Street, SE1 3GD
• Hew Locke: Where Lies the Land? UNTIL 17 NOVEMBER • Feliciano Centurión: I Am Awake
UNTIL 9 NOVEMBER Dulwich Picture Gallery UNTIL 27 OCTOBER
WHerald St Gallery, Herald St Gallery Road, SE21 7AD WCorvi-Mora
2 Herald Street, E2 6JT • Rembrandt’s Light 1A Kempsford Road, SE11 4NU
• Trix and Robert Haussman 4 OCTOBER-2 FEBRUARY 2020 • Lynette Yiadom-Boakye
UNTIL 1 DECEMBER Gasworks UNTIL 26 OCTOBER
WKate MacGarry 155 Vauxhall Street, The Oval, SE11 5RH WDanielle Arnaud Gallery
27 Old Nichol Street, E2 7HR • Kudzanai-Violet Hwami 123 Kennington Road, SE11 6SF
• Goshka Macuga UNTIL 15 DECEMBER • David Cotterrell: truth.lie.lie
UNTIL 19 OCTOBER Goldsmiths Centre for UNTIL 12 OCTOBER
WL’étrangère Contemporary Art (CCA) WGreengrassi
44a Charlotte Road, EC2A 3PD St James’ New Cross, SE14 6AD 1a Kempsford Road, SE11 4NU
• Joanna Rajkowska • Tony Cokes: TV Works, 1960-80s • Moyra Davey
UNTIL 31 OCTOBER UNTIL 12 JANUARY 2020 UNTIL 26 OCTOBER
WMaureen Paley Hayward Gallery WHannah Barry Gallery
21 Herald Street, E2 6JT Southbank Centre, Belvedere 4 Holly Grove, SE15 5DF
• Liam Gillick: The Night of Red and Gold Road, SE1 8XX • Jean Feline, Merve Işeri, Lara Ögel
UNTIL 17 NOVEMBER • Thabiso Sekgala: Here Is Elsewhere UNTIL 2 NOVEMBER
WMother’s Tankstation Project UNTIL 6 OCTOBER WJGM Gallery
58-64 Three Colts Lane, E2 6GP Horniman Museum and Gardens 24 Howie Street, SW11 4AY
• Yuri Pattison 100 London Road, Forest Hill, SE23 3PQ • Island by Alice Wilson
UNTIL 14 DECEMBER • Turn it Up: On Paradoxes UNTIL 2 NOVEMBER
WProject Native Informant UNTIL 21 JUNE WThe Sunday Painter
Dressage Court, 58-64 Three Imperial War Museum 117-119 South Lambeth Road,
Colts Lane, E2 6GP Lambeth Road, SE1 6HZ SW8 1XA
• Gubbinal • Rebel Sounds • Dalton Gata: The Gaze is Downstairs
UNTIL 2 NOVEMBER UNTIL JANUARY 2020 UNTIL 2 NOVEMBER
WSeventeen • Art in Exile WWhite Cube, Bermondsey
270-276 Kingsland Road, E8 4DG UNTIL 5 JANUARY 2020 144-152 Bermondsey Street, SE1 3TQ
• Rhys Coren: Shape of Story Jerwood Space • Mona Hatoum: Remains to be Seen
UNTIL 26 OCTOBER 171 Union Street, SE1 OLN UNTIL 3 NOVEMBER
WSoft Opening • Jerwood Collaborate! • Dóra Maurer
4 Herald Street, E2 6JT UNTIL 15 DECEMBER UNTIL 3 NOVEMBER
• Kira Freije Newport Street Gallery
UNTIL 20 OCTOBER Newport Street, SE11 6AJ
WStuart Shave/Modern Art • John Squire: Disinformation
50-58 Vyner Street, E2 9DQ UNTIL 10 NOVEMBER ○ West London
Design Museum
224-238 Kensington High Street, W8 6AG
Satellite fairs • Beazley Designs of the Year
UNTIL 9 FEBRUARY 2020
1:54 Contemporary Mosaic Rooms
African Art Fair 226 Cromwell Road, SW5 0SW
Somerset House, WC2R 1LA • Praneet Soi: Anamorphosis
UNTIL 6 OCTOBER UNTIL 7 DECEMBER
Pitzhanger Manor & Gallery
British Art Fair Mattock Lane, W5 5EQ
Saatchi Gallery, Duke of • Es Devlin: Memory Palace
York’s HQ, King’s Road, UNTIL 12 JANUARY 2020
Chelsea, sSW3 4RY Serpentine Gallery
UNTIL 6 OCTOBER Kensington Gardens, W2 3XA
• Albert Oehlen
Decorative Antiques UNTIL 2 FEBRUARY 2020
and Textiles Fair Serpentine Sackler Gallery
Battersea Park, SW11 4NJ Barbara Hepworth’s Turning West Carriage Drive, W2 2AR
UNTIL 6 OCTOBER form (Atlantic) (1961), on view at • Luchita Hurtado
the British Art Fair UNTIL 20 OCTOBER 2019
Moniker Art Fair Victoria and Albert
The Chelsea Sorting Office, Museum (V&A)
90-100 Sydney Street, SW3 6NJ Cromwell Road, South Kensington,
UNTIL 6 OCTOBER Roy’s Art Fair SW7 2RL
BARBARA HEPWORTH: ©PAUL TUCKER ALL RIGHTS RESERVED

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: Earth signs
Our resident mystic looks to the stars to help you navigate Frieze week
Margaret Carrigan (aka Mystic Mag)
Earth signs are
MARGARET CARRIGAN: © K.G. WASSUS. ROUSSEAU: COURTESY NATIONAL GALLERY; PRAGUE. BERTHE MORISOT: MUSEE MARMOTTAN MONET
consummate to-do
listers and Frieze week
presents an excellent
time to check things
off. The first half of
October is mostly
free of challenging
transits, so channel
your innate attention
to detail into checking
in with yourself
 LOOK FOR THE OTHER ZODIAC SIGNS,
BROKEN DOWN BY RULING ELEMENT,
IN THE NEXT DAILY EDITIONS
THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019 25
Taurus (21 April-20 May) Virgo (23 August-22 September)
Virgo’s favourite thing—efficiency—
is the order of the week with asser-
tive Mars in your sign now, which
means you can cross things off your mile-long
to-do list with gusto while also rubbing your
cleverness in others’ faces—another fun
Virgonian pastime! But don’t try to keep
pace with Pace gallery by getting too big for
your britches. Mercury moves into your third
house of communication and social network-
ing on 4 October, so play nice, let your hair
down and throw some shapes to Haroon
Mirza’s DJ set at Elephant West that night.
Virgo artists: Caspar David Friedrich, Grandma
Moses, Robert Indiana Too clever by half? Virgonian
Caspar David Friedrich
Capricorn (22 December-19 January)
There is a lot of planetary activity
in your tenth house of career and
public image early in the month…
but, really, when are you not focused on
work, industrious Capricorn? Energetic
Mars joins the tenth house party on 5
October, which may bring you a sense of
Taking the bull by the horns: Taurean Frank Stella valour for a job well done—perhaps you
This is an exciting month for bulls, with Uranus—the planet
managed to squeeze your diary of Frieze
week parties into one Excel sheet! But if
of invention, innovation and technology—in your sign you feel you are not getting the recognition
prodding you forward. Taureans, however, are not huge you deserve, use this transit for some intro-
fans of change, so this energy might feel more like a red-hot poker. spection. It may be time for a job change.
Combative Mars moves into your sixth house of health, routine and Capricorn artists: Khalil Gibran, Berthe Morisot,
systems, so issues of work-life balance will come to the fore—not ideal Su Shi
during the art fair grind, but if you rethink how you structure your
time, you’ll be more in command than ever by the time Fiac opens. Industrious Capricorn: Berthe
Taurus artists: Frank Stella, Vanessa Beecroft, Mary Cassatt Morisot had no time to waste
 26 THE ART NEWSPAPER FRIEZE FAIR EDITION 3 OCTOBER 2019

DIARY
Frieze Week
Homage to Homer
Tang gets into the (not quite) surgical spirit

Theaster Gates brings exclusive

Prada Mode to 180 The Strand

Theaster’s culture club

The peripatetic members club-cum-cultural
hub Prada Mode has come to rest in the
bowels of 180 The Strand until tonight. The
Brutalist complex offers a new chapter of
Theaster Gates’s The Black Image Corpora-
tion, a packed programme of events and ex-
hibitions exploring black identity and culture,
organised by the artist and the Showroom’s
director, Elvira Dyangani Ose. “It seems like a
really important time to do something more D’oh! Joyce Pensato’s depiction of Homer
than just party—to make connections be- Simpson disturbed at least one visitor
tween artists and curators and practitioners
of all ages in ways that parties can’t,” Gates If you like The Simpsons, you’ll relish Joyce Pensato’s subversive
says. But non-members need not fear: The images of Homer on show with Lisson Gallery at Frieze London.
Black Image Corporation will be open to all The doctor will see you now: Tang Dixin offers a cure for world-weary fairgoers Pensato died in June but leaves behind a trailblazing legacy. Dis-
from tomorrow until 27 October. carding the usual conventions associated with still-life painting,
The unusually large number of Frieze visitors He is now offering fairgoers a free bandage service at she also created weirdly compelling representations of Mickey
sporting surgical dressings are not especially Aike gallery’s stand under the banner “Rest is the Best Mouse and Donald Duck. “What do you get when you cross
accident-prone or recovering from a recent nip and Way of Revolution”—albeit without the broken bones. the contemporary derangement of American politics, various
tuck. Instead, they have been treated by the Chinese Participants must first mark an appointment card listing cartoon heroes, the spectres of abstract expressionism and that
Whiskey a go-go artist Tang Dixin in the interests of promoting enforced the anatomical options: neck, arm, leg, finger, nether dystopian goon Donald Trump?” asked Frieze magazine last year.
leisure. When he broke his arm a few years ago, Tang regions and—for those in need of a break from art The answer is Pensato’s portraits, which so unnerved one fairgo-
found he had his best ideas while unable to make art. gazing—the eyes. er that she shrieked on seeing cartoon Homer on canvas.

Artoon by Pablo Helguera In bed with

Baldock’s mum

TANG DIXIN, MEESE BAR: DAVID OWENS. GATES: LOUISA BUCK. PENSATO: © JOYCE PENSATO. BALDOCK: STEPEN FRIEDMAN GALLERY
The artist Jonathan Baldock
Meese is serving bourbon and rye- wants to get you into his bed.
based tributes to cult film Zardoz This is no saucy invite but an
interactive artistic intervention
There’s a time-honoured tradition of called My biggest fear is that
artful bars serving booze at the fair and someone will crawl into it,
this year is the turn of the maximalist German showing in the sumptuous sur-
artist Jonathan Meese’s Western-style bar at roundings of Fitzrovia Chapel
David Nolan Gallery’s stand, dispensing free (until 5 October). The artist
Michter’s Kentucky bourbon and rye whis- describes the four-poster work,
keys. The hostelry pays homage to Meese’s which comes complete with
obsession with Zardoz, John Boorman’s cult exquisitely crocheted blankets
1974 sci-fi fantasy starring Sean Connery and and pillows, as a “secure centre
Charlotte Rampling, whose images are em- in a chaotic world”. Visitors
blazoned throughout the densely collaged can snuggle up and listen to a
surfaces. Sharp-eyed visitors might also spot narrative recorded by Baldock’s
an image at floor level of the artist paying “I am not a weaving artist, but mother, who told us at the
a visit to Boorman’s Irish home. Might he private view how “extremely
have succeeded in his quest to persuade the my work does loom large.” Sweet dreams: Baldock’s bed in Fitzrovia Chapel proud” of her offspring she
veteran director to make a Zardoz II? may prove enticing during Frieze Week was. Bless.

Introducing

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 S I N C E 17 0 7

Kazuo Shiraga, GI (The Game), 1991, oil on canvas, 73 x 60.5 cm, €240,000 – 280,000

Auction Week 25 – 29 November 2019

Modern and Contemporary Art
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