FRIEZE LONDON 2020

Lubaina Himid, Five Conversations, 2019. Acrylic on found wooden doors.
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Lubaina Himid, Five Conversations, 2019. Acrylic on found wooden doors.
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FRIEZE LONDON 2020
Sandwich is an ambiguous emblem of nationhood and proletariat festivity. Awesome in scale and raw in its appearance, Sandwich opposes the pomposity of traditional public sculpture with its prosaic absurdity and functional accessibility.

Sarah Lucas, Sandwich, 1997-2020. Concrete, 60 x 244 x 190 cm. Edition of 3 + A/P

Source: Frieze Sculpture
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FRIEZE LONDON 2020
For this Lupine Tower artwork, nature is Arne Quinze’s main inspiration. This sculpture is a distillation of nature that appears to have grown organically as a result of continuous attractive and repulsive impulses with the aim of preserving a balance, albeit delicate. At first sight lupines may perhaps appear fragile, but they are nevertheless capable of withstanding this harsh dialogue. Their colour palette is broad and inspired by the abundance of tints Quinze finds in his wild flower garden.

Arne Quinze, Lupine Tower, 2020. Varnish On Aluminium, 730 x 250 x 300 cm.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
At once elegant and raw, David Altmejd’s Bodybuilder seems to have been paused in a process of its own making or unmaking. Sprouting hands that clutch and mould its own substance, it appears to have dragged matter up from the plinth on which it stands with which to form itself.

David Altmejd, Untitled 1 (Bronze Bodybuilders), 2015. Bronze And White Paint, 214 x 61 x 56 cm.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
Conjuring a complex spectrum of emotions, Torso embodies the artist’s unwavering interest in the driving forces behind human actions and relationships. For Fischl, the three-dimensional study of his protagonists acts as an extension of his painting, enabling an even more nuanced understanding of their psyche. As the artist explained in an interview, “I became so familiar with these people from this one position in my photographs – I knew them from the back, for example – that I wondered if I could imagine them in three dimensions.” As the artist noted, “The posture one’s body assumes carries with it all the memories of its experiences. These memories bend, twist, stiffen, and overemphasize. It is this sense that the way one carries oneself is the result of an epic struggle between internal forces reacting to external forces that I find so compelling in the works of artists like Michelangelo, Rodin, and Giacometti. It is a quality I strive for in my work.”

Eric Fischl, Torso, 2010. Bronze, 96.5 x 76.2 x 762 cm. Edition This Is Number Four From An Edition Of Five, Plus Two Artist Proofs.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
The work reflects on the way our view of the world is being filtered more and more by the decisions that personalised algorithms make for us on-line, while trying to guess what we would like to see, based on informations that they have collected about us, such as location, behaviour and most of all, our search history. By curating our access to information, the filter bubble is being responsible for the increased sense of polarisation we experience daily, and it is redefining the very same idea of democracy. The sculpture will visualise the current price of the words that will be most searched for on-line, in the area surrounding Regents Park and Frieze, (The program can be adapted to any geographical area) as they are assigned a price by digital advertisers such as Google Adwords. Sculpture will pick a new word and assigned price to it every 10-15 sec. These are also the words that the sculpture itself should use in order to advertise its presence on-line and ultimately drive more people to its physical location.

Fabio Lattanzi Antinori, Adkeywords , 2020. 180 x 300 x 30 cm. Edition Unique

Source: Frieze Sculpture
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FRIEZE LONDON 2020
Disembodied from any room, structure or building, this ‘larger than life’ painted bronze door, is freestanding, open at 45°’s to the frame. This internal wooden door now placed in the park has different colours painted on each side, the door shows signs of age and wear which are painted onto its surface. Its giant bronze door handle and keyhole seem to shrink the viewer. This work invokes Magritte’s painting La Victoire and the title references Luis Bunuel’s surreal film of the same name. It is a playful surrealist public artwork that the audience enjoys interacting with as a gateway to their imagination. L’Âge d’Or teases the audience to question notions of home, security, architecture and also the bolder concepts of inside and outside. The work can also be seen in the context of Marcel Duchamp’s door in rue Larrey and Jasper Johns’ painted bronze Ballentine beer cans. Question: When is a door not a door?

Gavin Turk, L'âge D'or (Green And Red), 2019. Painted Bronze, 358 x 156.5 cm.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
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Gianpietro Carlesso, Torre Di Saba, 2009. Cedar Tree Wood, 268 x 90 x 90 cm.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
Hair, an actual body feature, could function as a metaphorical device for thoughts, fears and beliefs. The cutting of the plait thus, although giving at first sight an impression of punishment, is actually a gesture of disobedience, a revolutionary action against beauty stereotypes and any internalisation of patriarchal impositions, an emancipation of thinking. The cutting off from old ideas and perceptions, a deep inner change, a liberation.

Kalliopi Lemos, The Plait, 2020. Mild Steel Sculpture, 650 x 250 x 250 cm.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
Five Conversations was first exhibited in the outdoor display En Plein Air, The High Line, New York. The work comprises five reclaimed wooden doors from traditional Georgian townhouses painted with portraits of everyday stylish women who, when the doors are installed in proximity, appear to be engaging in conversation with one another. With a reference to theatre and stage sets, this work brings the typically two-dimensional medium of painting into the three-dimensional space of the viewer.

Lubaina Himid, Five Conversations, 2019. Acrylic on found wooden doors.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
Humans-Animals-Monsters is a new installation by Patrick Goddard, consisting of twenty-four animal heads cast from reclaimed lead, made specifically for Frieze Sculpture Park. The works are strewn across the grass - upright, on their side, and upside-down, viewers are forced to pick their way through the aftermath of a clownish battle. The works are based on latex animal masks, perhaps the kind worn to a fancy-dress party or at Halloween. These mass-produced novelty items occupy a visual space somewhere between human and animal, zoomorphic abstractions twice removed from their original animal referent. The work nods towards the division, or lack thereof, between animal and human. Goddard has an interest in the entertainment complex and it's relation to ecology, with animals and zoos featuring in several previous films and installations. The work mourns extinction — not just the eradication of species, but moreover the destruction of humans’ habitual encounter with animals.

Patrick Goddard, Humans-Animals-Monsters, 2020. Reclaimed Lead, Mirror, In 24 Parts. Edition 2 of 3.

Source: Frieze Sculpture
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FRIEZE LONDON 2020
Aurelius is a 3 metre tall bronze sculpture, initially made in clay at this size before being cast. Hand-painted in mostly pale hues with scumbled, delicate touches and broader, darker patches suggesting flesh or clothing, or, at the far end of the scale, surface shimmer. With these large works, Warren explores possibilities of blending the tender, the slight, the awkward, the elegant and the overblown into a delicately bathetic monumentality.

Rebecca Warren, Aurelius, 2017-2019. Hand-Painted Bronze, 295 x 58 x 49 cm. Edition 1 Of 2 Casts, Each Painted Uniquely (2/2)

Source: Frieze Sculpture
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FRIEZE LONDON 2020
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Richard Long, Circle For Sally, 2016. Granite And Marble, 30 x 520 x 520 cm

Source: Frieze Sculpture
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FRIEZE LONDON 2020
Quarantine and Basketball draws references from both contemporary life and seventeenth-century capriccios - landscape paintings which combine real and imagined architecture, monuments, and environments. Santiago began this work when he moved to Munich in March 2020 and was quickly faced with the limitations and restrictions of quarantine. This work depicts his daily activities and efforts towards keeping sanity.

Curtis Talwst Santiago, Quarantine And Basketball, 2020. Mixed Media Diorama In Reclaimed Jewelry Box, 4.6 x 7.1 x 5 cm.

Source: Rachel Uffner Gallery - Freize Focus
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FRIEZE LONDON 2020
Taken from the artist's own poetry, Touch continues Hill's poetic investigation of light and text. In electric pink neon, the work reads, “LEAVEN IN THE DANGERS OF THE PALPABLE”, stoically inching across the wall in a single horizontal line.

Ej Hill, Touch, 2020. Neon, 15.24 x 247.65 cm. Edition 1/2

Source: Company Gallery - Freize Focus
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FRIEZE LONDON 2020
Daiga Grantina, Umdrum, 2020. Wood, Ink, Felt, Silicone, 36 x 46 x 5 cm. Assembled, interlocked and folded, Grantina’s objects for Frieze OVR introduce a collection of continuous and angled abstract gestures. The artist employs carved and sewn sheets of felt and fabric, their edges dipped in silicone, alongside bursts of coloured ink sprayed or painted on wood in irregular tapping gestures. 'Umdrum' is comprised of multiple parallelograms arranged alongside each other, multiple lines, angles and axes forming a togetherness of parallel lines, The felt itself enacts a softening of its own edges, encrusted by a silicone brim that refracts the light entering through to appeases the contours of geometric shape.

Daiga Grantina, Umdrum, 2020. Wood, Ink, Felt, Silicone, 36 x 46 x 5 cm.

Source: Emalin - Freize Focus
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FRIEZE LONDON 2020
A group of esoteric paintings-cum-sculptures grow from Rosario Zorraquín’s habit of inventing symbols and speculative language. She calls this Glosario, scripts that are later decoded in communion with friends, and from these sessions Zorraquín gives shape to Tamizha: oversised, free-standing frames covered in translucent cheesecloth. She draws on them with markers and acrylics, but the pieces delineate themselves, drenched in pigments and teas, they absorb and dissolve at will. The works must be experienced in space, with their fragility and transparencies. They intervene on space by dividing it and obscuring it, incorporating whatever traverses around them: humans, light, movement, becoming a dialogue with space and some kind of beyond.

Rosario Zorraquín, Puente, 2020. Ink On Canvas, Wood, Iron, 180 x 150 cm.

Source: Isla Flotante - Freize Focus
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FRIEZE LONDON 2020
About the Work Used for discrete observation in interrogation rooms, and also found in office buildings to protect workers from the gaze of street-level passersby, one-way mirrors facilitate shifting modes of control based on one’s positionality. The window-based unidirectional gaze also appears in the architectural feature of the jalousie, a window treatment comprised of angled slats. Both of these technologies allow one to see out while remaining unseen, reflecting the dynamics of control and surveillance of disciplinary architecture.

Kapwani Kiwanga, Jalousie, 2018. Steel, Two-Way Mirror, 220 x 320 x 10 cm. Edition 3 + 1 Ap (1/3)

Source: Galerie Tanja Wagner - Freize Focus
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FRIEZE LONDON 2020
Elsa is among an ongoing series of shooter bottle sculptures, the first of which Claflin made for the exhibition By All Means You Can Have Two Halloweens at Drei Gallery in early 2020. After emptying the alcohol from the bottle, Claflin refills it with fragrant oils to create a custom scent, in this case meant to recall gin and an imagined notion of an English secret garden. Geranium and orange dominate other herbal and earthy notes, with the addition of a CBD vape juice reminiscent of farm fresh carrots in wet soil. The rainbow sticker over the label creates a big grin and the wire bead eyes combine to give Elsa a wide-eyed, happy-drunk expression.

Whitney Claflin, Elsa, 2020. Essential Oils, Jojoba Oil, Propylene Glycol, Vegetable Glycerin, Cannabidiol, Terpenes, Sticker, Wire, Beads, Plastic Candle Holder, 16.5 x 6.4 x 64 cm.

Source: Bodega - Freize Focus
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FRIEZE LONDON 2020
The images of the heliogravures are created in photoshop and pose as “fake photography”, while they establish photography based image-making techniques as vessels to see through or X-ray spaces and bodies otherwise enclosed. On the one hand, this speaks to their close connection with surveillance techniques and the gaze of control in general; on the other, Eisenring deploys this gaze to enter a dialogue with imaginary spaces—interior, hidden worlds such as the inside of a closet, a clockwork’s body, stuffed toys, or mechanical devices.

Cédric Eisenring, X-Ray Architecture I, 2020. Heliogravure On Vat Paper, 80 x 120 cm. Edition 1+1ap

Source: Drei - Freize Focus
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FRIEZE LONDON 2020
Kamrooz Aram’s work is rooted in the history and practice of painting, which he expands to include collage, photography, sculptural works and exhibition design. His work engages the complicated relationship between Modernism and ornament, often with reference to non-western ornamental art, which he sees as a parallel to painting. Aram’s work sets out to renegotiate the art historical hierarchy that places these ornamental artforms in a category of value beneath fine art. In these new paintings the artist continues this trajectory that explore the ornament as it has been used in art history. They range range from those bound closely to the logic of the grid, to those painted completely free-form, without any underlying structure. The result is a diverse group of works that exemplify Aram’s versatility and deep engagement with the medium of painting.

Kamrooz Aram, Untitled, 2020. Oil, Oil Crayon and Wax Pencil On Linen, 213.37 x 182.89 cm.

Source: Green Art Gallery - Freize Focus
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FRIEZE LONDON 2020
Kaoru Arima has been active as an artist for decades. He makes small and medium-size impressionistic portraits with apparent no romanticism. The coloured paint is dabbed onto a black painted background whose square shape is reminiscent of a polaroid. Sometimes, the painting bleeds over the black background edges, reminding us that portraits are historically linked to the background's invention. According to the independent curator Alexis Vaillant: "The effectiveness of Arima's portraits comes from their rapid execution, which gives them great intensity, and from the removal of the eyes, which makes the surface and the background in." The artist gains inspiration from figures in fashion magazines and starts making portrait painting from there. However, this first image is not yet an artwork; he paints another portrait over the initial one until the human face becomes a landscape.

Kaoru Arima, Forrest’s Vaccine, 2020. Acrylic On Canvas, 18.4 x 14 x 2 cm.

Source: Édouard Montassut - Freize Focus
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FRIEZE LONDON 2020
'Duo (II)' is currently included in Edel Assanti's 'The Crowd', a five-day offsite exhibition by Oren Pinhassi, staged at St Cyprian’s Clarence Gate over the course of the week of Frieze London. 'The Crowd' is comprised of a group of freestanding sculptures which on first impression channel bodies: looming just above human height on spindly legs, their slotted torsos are suggestive of ribcages; protrusions here and there resolve in the composition as feet, breasts, or buttocks; holes widen on their surfaces like eye sockets; panes of glass recede into the shade of an arch like featureless faces. These initial cues give way to a pattern of erotic transmutation in which object, architecture and body flow seamlessly into one another in borderless free association. Pinhassi’s installations examine the relationship between the human figure and the built environment by conjuring evocative sites that intersect public and private exchange. Past works explored bathhouses as spaces of vulnerability and sensuality, or cruising spots in nature as voyeuristic portals to erotic transformation. The sculptures in 'The Crowd' invoke architectures of authority, incorporating features of manmade spaces designed to exert power over individuals within them. Quotations from civic institutions are abundant – voting booths, segregation cells, institutional desks. Points of bureaucratic exchange become expressions of bodily desire, as teller windows imply receptive orifices. Pinhassi’s primary materials are plaster and sand, methodically layered over welded steel skeletons. The visual sensibility created by both medium and application is one of constructive ambiguity – the tactile surface announces itself as handmade, yet the predominantly grey colour and repetition of form across the group of sculptures evokes a spectre of concrete modernism that is instantaneously disavowed by their voluptuous sensuality, urging us towards a logic of futuristic hybridity. Standing in contrast to the more architectural works are several comparatively humanoid figures, if only for their suggestive pastel pink colouring that guides us towards the interior space of body. The holes in the screens and torsos of the sculptures invite an opportunity for mediated communication. Pinhassi’s new body of work interrogates the paradox of individual isolation in the era of hyperconnectivity. Despite their playful shapeshifting, Pinhassi’s totemic figures are ultimately “alone together,” solitary in their mutual separation. Physiologically bound to their own architectural constitutions, they invite us to question the environments we create as prisms through which human experience is channelled and reshaped.

Oren Pinhassi, Duo Ii, 2020. Steel, Plaster, Burlap, Sand, Pigment and Umbrella, 235 x 90 x 90 cm.

Source: Edel Assanti - Freize Focus
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FRIEZE LONDON 2020
This painting, part of an ongoing series, depicts a view from the artist's imagination. His subject, a pastoral landscape viewed through a window, references the history of painting while his gestural brush strokes evoke a nebulous feeling similar to that of a distant memory.

Adam Gordon, Untitled, 2020. Oil On Canvas, 40.64 x 50.8 cm.

Source: Chapter NY - Freize Focus

Frieze London celebrates the best of contemporary art around the world, from the emerging to the iconic. The show will be on view until Friday 16 October

We’re taking you on a guided tour over Frieze Sculpture where you’ll discover exceptional outdoor works by leading artists, selected by Clare Lilley, Director of Programme at Yorkshire Sculpture Park. Frieze Sculpture is on view in the Regent’s Park, London, from 5-18 October.
We’ll also explore ambitious solo and dual presentations by emerging talents, presented by galleries aged 12 years or younger, known as Frieze Focus.

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