13 OCTOBER 2023, ISSUE 3 The Art Newspaper

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THE ART NEWSPAPER| FRIEZE ART FAIR|13 OCTOBER 2023

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Portrait sets auction record for YiadomBoakye

Blurred lines: are galleries and museums getting too cosy?

A striking portrait by Lynette YiadomBoakye set a new auction record for the artist at Sotheby’s The Now sale in London last night. Entitled Six Birds in the Bush (2015), it far surpassed its £1.2m-£1.8m estimate to make £2.9m. One lot at the Sotheby’s sale, Peter Doig’s By a River (est. £3m-£4m) was withdrawn and a Jordan Casteel painting was bought in. With the pound sterling having slid to 1.22 to the dollar, American buyers seemed enthusiastic and the auction house said one-third of the sale went to the US, with Asia representing 20% of buyers. Women artists were popular, with Cecily Brown’s Tricky (2001) making £2.5m, before fees, with an estimate of £1.2m-£1.8m. Elizabeth Peyton’s portrait of David, Victoria and Brooklyn [Beckham] from 1999 sold for £1.68m. But the picture wasn’t entirely rosy. Later that evening, at the auction house’s Contemporary Evening sale, a monumental abstract painting by Gerhard Richter, Abstraktes Bild (1986), with an estimate of £16m-£24m, failed to find a buyer. Georgina Adam

As public institutions are working more with the private sector, there are calls for greater transparency. By Anny Shaw

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YIADOM-BOAKYE: COURTESY OF SOTHEBY’S

rom Philip Guston and El Anatsui to Marina Ab r a m o v i ć a n d G e o r g Baselitz, gallery stands at Frieze London and Masters are awash with artists whose works are currently on show in the capital’s public institutions. A strong gallery presence is, in turn, being felt in the museums, where dealers’ logos are splashed over entrances, wall labels and exhibition catalogues. In an increasingly difficult fundraising climate, dealer involvement in museum shows has become ever more prevalent. This begs the question: are the works we see on museum walls actually for sale? “From biennials to museum shows, pretty much everything is not for sale until it is,” says the collector and dealer Kenny Schachter, who has loaned a work to the Sarah Lucas survey at Tate Britain (until 14 January 2024). “More often than not, something could be transacted—often the words ‘not for sale’ mean ‘extra costly’.” In the case of Lucas’s exhibition, nearly 25 works included in the show have been created in the past three years—most of them are on loan from the artist, some in conjunction with her gallery Sadie Coles, who is showing at Frieze London this week. Coles notes how, with “museums [being] increasingly underfunded, galleries provide increased support in order to produce the shows their artists want to realise”. While some works on show at Tate

“From biennials to museum shows, pretty much everything is not for sale until it is”

Britain were included in a 2020 exhibition at her London gallery, Coles insists that “none of [these works] have been offered for sale”. In a statement, the Tate said, “When staging museum exhibitions of contemporary artists, it is often the case that new and recent works are listed as being on loan from the artist and their gallery.” However, it stresses that “in accordance with government indemnity [a state-backed insurance policy for art and cultural objects on public display], works cannot change hands while on loan to the museum and they are returned to the same lender at the end of the show. Considerations about sales played no part in the planning of the show.”

Fifteen years ago, the art world was more squeamish about the crossover between the public and private sectors. In 2010 the late art critic Brian Sewell lambasted the Old Master dealer Charles Beddington for organising (although not sponsoring) a Canaletto show at the National Gallery in London. Today, gallery support for public shows comes in a myriad of forms— the costs of catalogues, shipping and opening night dinners are often underwritten by dealers. Such contributions are usually pegged at around £20,000 to £30,000. Galleries also often support exhibitions in the planning stages by locating works they have sold to private collectors. The access they provide to clients, therefore, is key and can determine what goes on display—or not. As a result, experts are more realistic about gallery involvement. “Museums now have less ability to meet their ambitions without more support from dealers,” says Maurice Davies, a cultural consultant and the former policy director at the UK Museums Association. CONTINUED ON PAGE 29 

Kenny Schachter, dealer THE ART N EWS PA PE R . C O M

Six Birds in the Bush, which YiadomBoakye painted in 2015, sold for more than £1m over its estimate

Castigated over Canaletto

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D OW N LOA D THE A P P

Economic turmoil hits Chinese galleries CHINA’S FINANCIAL HEALTH APPEARS, FOR THE FIRST TIME IN DECADES, TO BE IN TROUBLE. Growth is slowing and the stockmarket is on the dip. A housing crisis, precipitated by the bankruptcy of Evergrande, one of China’s biggest property developers, and the possible defaulting of the comparable behemoth Country Garden, has thrown China’s museum sector into a state of profound uncertainty. “Covid policies in China have weakened the relationship between China’s art market and international art markets,” says Pan Baohui, the director of Magician Space, the only Beijing-based gallery to attend Frieze London this year. “The fluidity of the market has been weakened,” the dealer adds. Gallery Vacancy, meanwhile, is one of two galleries to attend from Shanghai. Collectors affluent enough to be insulated from the economic downturn

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still seem to be travelling to fairs like Frieze. This year they included Alan Lau, Patrick Sun and Dongyuan Guan. But, for some emerging collectors, and many Chinese galleries, the future is a lot more uncertain. “The Chinese economy has had a really big impact on business for many galleries,” Baohui says. “Many are downsizing. Rent is increasing and emerging collectors don’t want to pay as much.” As a result, Chinese galleries are focusing their resources on fairs closer to home such as the West Bund Art & Design and ART021 fairs, which will take place in Shanghai next month. A fellow dealer, who preferred to remain anonymous, confirmed that there is anxiety among Chinese collectors due to the economic downturn. London gallerists who do business in China are more bullish. Timothy Taylor, the director of the eponymous gallery in

@ THEA RTNEW S PA P E R

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Mayfair, says the Chinese collectors he works with have travelled to Frieze this year. “There is no drop off that I can see,” Taylor says. “They are here, and they are enthusiastic.” Since the pandemic, however, gaining a visa to the UK remains a time-consuming task for collectors and gallerists who are Chinese citizens. “Many of my clients find this very frustrating,” says Lihsin Tsai, a senior director at Hauser & Wirth Hong Kong, who is Chinese. “A very important client of mine was unable to come to London because she was unable to get a visa in time,” Tsai says. Getting a visa for Europe’s Schengen area, however, is far simpler. Lucien Y. Tso, the founder of Shanghai’s Gallery Vacancy, says: “Clients from China need visas to enter both the UK and Europe,” he says. “With so many fairs now in China, they might need to choose.” Tom Seymour

@ T H E A RT N E WSPA P E R .O FFI C I A L

ACCELERATING IDEAS

LEARN MORE AT CHANEL .COM

NATIONAL PORTRAIT GALLERY

envisioning new futures with THE Centre Pompidou, PARIS

Reframing Narratives with THE National Portrait Gallery, LONDON

FOSTERING GLOBAL DIALOGUE with THE Leeum Museum of Art, SEOUL

ADVANCING CULTURE Elevating Underrepresented Voices with THE Museum of Contemporary Art Chicago

Exploring Craft and Architecture with THE Power Station of Art, SHANGHAI

THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

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NEWS Art market

Famous and emerging artists from the country feature at both the contemporary African art fair, with a record number of exhibitors this year, and at Frieze Masters. By Gareth Harris and Chinma Johnson-Nwosu

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igerian artists and the country’s burgeoning arts scene are in the spotlight in London this week. Five Nigerianbased galleries are participating in the 11th edition of 1-54 Contemporary African Art Fair at Somerset House (until 15 October), while a series of auctions in aid of the Museum of West African Art (Mowaa), due to launch in Benin City in 2027, and the Nigeria pavilion at the 2024 Venice Biennale, are due to take place at Christie’s London this weekend. The upswing in demand for artists from the West African country is reflected in ArtTactic’s African art market report (2022), which noted that sales values at auction of Nigerian artists increased by 25.6% from $9.7m in 2021 to $12.1m in 2022. At Frieze Masters, the Lagos-based kó gallery—the only African gallery showing at the fair—is presenting a solo stand of the late Nigerian artist Ben Enwonwu’s work. In 2019, his painting Christine (1971) sold for £1.1m at Bonhams London, strengthening the

founder of SMO Contemporary Art gallery from Lagos, notes that the country is experiencing a “cultural renaissance” despite the background of “political and economic challenges”. In February, Nigerian voters went to the polls to elect a new president, which could have heralded a moment of transformation for Nigeria’s artists and museums, but in fact resulted in “a huge devaluation of currency,” Obiago says. Her gallery is showing three artists “across three generations” including Victor Sonoiki who is unveiling a new body of works entitled When Love Is Right (2023, priced between £4,600 and £4,800). “This is our sixth year; 1-54 works for us as a platform; we’re trying to bring some balance to the African art narrative.” Dolly Kola-Balogun, the founder of the Abuja-based Retro Africa gallery and a consultant for the Kwara State government, says 1-54 London helps bring Nigerian collectors to the fore. “It has a fair share of European, American and Asian collectors but I love that African collectors don’t play second fiddle in this space. Nigerian collectors most especially seem to be major power brokers and have increasingly positioned themselves in this role.”

Sales values at auction of Nigerian artists increased by 25.6% between 2021 and 2022 market for the man considered to be Nigeria’s master of Modernism. At the fair, Enwonwu’s paintings and sculptures have been consigned by his family as well as local and international collectors. Indeed, due to the weakening of the Nigerian currency, the naira, Nigerian collectors looking to sell are increasingly keen for works to go abroad to cities like London, where proceeds can be boosted by stronger currency, Kavita Chellaram, the gallery’s founder, tells The Art Newspaper. The market for Nigerian art, while bubbling, might well be tested this

Three to see: 1-54 Wendimagegn Belete Between Matter and Memory series (2023), £10,000-£25,000 KRISTIN HJELLEGJERDE GALLERY

The Ethiopian artist Wendimagegn Belete mixes things up in a series of silkscreen paintings touching on themes such as colonialism, exploring especially how “Western perspectives have often portrayed other cultures and regions in a simplistic and skewed manner”, says a gallery statement. The works combine archive images from early 20th-century Africa and technical drawings of camera equipment.

J.K. Bruce-Vanderpuije Accra Optimists Club (1930s), £14,000 (edition 2 of 3) EFIE GALLERY

J.K. Bruce-Vanderpuije was one of the few commercial photographers working in Accra in the 1920s. “This image shows a Black gentleman’s club at the height of colonialism,” says Kwame Mintah, the director of Efie Gallery. The Bruce-Vanderpuije family has since amassed the world’s largest collection of Ghanaian photographs (the artist’s estate is held by the Deo Gratias studio in Accra).

Lakwena Maciver Gary (2022), £24,500 VIGO GALLERY

Ben Enwonwu’s Negritude (1977) is presented by kó Gallery at Frieze Masters. Enwonwu is one of the most sought-after Nigerian artists, with a work selling for £1.1m at auction in 2019 week. Lagos-based Wunika Mukan gallery is participating in 1-54 for the first time, showing a solo presentation dedicated to the Nigerian artist Victor Ubah whose works are inspired by Cubism (priced at £9,500).

Knowledgeable collectors “The market for Nigerian artists exploded a little while ago and things are calming down. Prices are still strong, and demand is high for some contemporary artists. There are many collectors in Lagos who are very

knowledgeable, mainly in the 45-60 age range. In London, there is [generally] a strong African art presence,” Wunika Mukan says. Another 1-54 first-timer, Lagosbased Affinity Gallery, is showing works by two Nigerian artists: the painter Damilola Onosowobo and the ceramicist Anne Adams (priced between £6,500 and £8,500). “We are looking to expand our collector base and knowledge of what Nigerian art is,” says the gallery manager Moni Aisida. Sandra Mbanefo Obiago, the

Table for you and a few (2023) is one of the paintings by Damilola Onosowobo, being shown by Lagos-based Affinity Gallery

Lakwena Maciver’s Jump paintings consist of abstract portraits of celebrated basketball players. “Maciver takes physical and biographic references as a starting point,” says a gallery statement. “I like the notion of the basketball court as a platform or stage where the players become almost like superheroes… these paintings are about being aspirational, dreaming and the connection between people,” says the artist.

Two art advisers tell us what they’d buy for under £10,000 at Frieze London  Jane Suitor “I’ll start with Lindsey Mendick’s ceramic handbags at Carl Freedman Gallery, based in Margate, which are under £10,000. I’ve met Lindsey once before, somewhat fleetingly, but I was drawn to her enthusiasm and humour, and that transfers into her work. She has specially designed the plinths for her work to be exhibited on, so it provides some guidance to a buyer as to how to place them. Typically, I will suggest to my clients the best ways to exhibit works, but my rule is: advise, don’t dictate. Another artist who caught my eye is Andreas Schulze, whose paintings are on the stand of Sprüth Magers. I believe he is one of the first artists shown by [the gallery’s co-founder] Monika Sprüth. One of his small paintings, a window work, is under £10,000. It’s like

a window into another portal and can be displayed really high or really low.  I know this one is over the limit, but for £14,000, there is a beautiful painting by Nova Jiang at Union Pacific’s stand that caught my eye. It has a postModernist twist. It looks like a beautiful painting of a plant in a pot, but then it has a Surrealist-style pair of scissors cutting the plant, making it slightly more sinister. I like that dichotomy.” 

Benjamin Godsill

Not on the high street: Lindsey Mendick’s I’m sorry for everything (2022), one of a series of fantastical ceramic handbags, at the stand of Margate-based Carl Freedman Gallery

“Forget about great work under £10,000, it’s tough to find any work under £10,000 at Frieze London these days. Still, this edition had a few, and also introduced me to a new gallery and a new artist, which is very exciting—that doesn’t always happen. HOA Gallery from Brazil is showing incredible paintings by Mariana

Rocha for around $8,000 to $10,000. They deal with water and how life changes in a liquid sense. They are very accomplished works; you could see one living next to an Albert Oehlen— they’re incredible for this price point.  My second choice is from the New York gallery Helena Anrather, where there are some great Leon Xu paintings, priced between $8,000 and $15,000. There’s a great painting for $5,300, titled Never been so sure in my life, which shows a figure looking out of a plane window onto a nondescript city below—a sight most of us in the global art world circus are all too used to. The work is rendered in a gauzy style, like much of Xu’s work. Who knows what it’ll be worth one day, I’m not saying either of these works will be great investments, but they’re nice pieces to live with.” 

ENWONWU: COURTESY OF KÓ GALLERY. ONOSOWOBO: COURTESY OF AFFINITY GALLERY. MENDICK: PHOTO: © DAVID OWENS. BELETE: COURTESY OF THE ARTIST AND KRISTIN HJELLEGJERDE GALLERY. BRUCE-VANDERPUIJE: COURTESY OF EFIE GALLERY. MACIVER: COURTESY OF THE ARTIST AND VIGO GALLERY

Nigerian artists are at the fore at the 1-54 fair and beyond

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THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

TRADE SECRETS Our roving editor-at-large Melanie Gerlis shares her insights on the art market

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ow that the economy has cooled, could auction houses become victims of their own success in propping up the art market? Auction results determine the mood, like it or not. Sotheby’s slick and successful hybrid auction in July 2020 warmed up an industry frozen by the Covid-19 pandemic. Then, in 2022, Christie’s returned the favour in New York with its high-octane sale of works from the collection of the late Microsoft co-founder Paul Allen, keeping the multimilliondollar engine running. Auction houses have become the investment banks of the industry, doing more than matching willing

sellers to buyers. By lending money against works, structuring guarantees and then re-packaging some of these to third-party investors, they oil the whole market machine. This keeps sales—and thus fees and commissions—turning over. The public nature of auction transactions, even more visible thanks to livestreaming, also signals to the market and beyond that all is well, encouraging more supply and demand. Or otherwise. Sales from May’s nine evening auctions in New York were down 42% on the previous spring’s season, according to ArtTactic, confirming what we all suspected: the art market is still vulnerable to economic wobbles. This seems likely to damage the lucrative tools auction houses use to

shield art prices from organic market conditions. Guarantees are a prime example. These both entice sellers into the market with a sure deal and prove to anxiety-prone buyers that demand exists. They also provide a tantalising opportunity to art-market financiers; a third-party guarantee means getting either a favourable price for a good work or a tidy profit for absorbing the auction houses’ risk. Unfortunately, as demonstrated by Christie’s evening auction of Gerald Fineberg’s collection in New York in May—unguaranteed and disappointing—the increased presence of guarantees has become a selffulfilling prophecy. When they don’t exist, the market gets spooked. Meanwhile, their average return

David Hockney’s The Conversation (1980), part of the collection of the late Microsoft co-founder Paul Allen, sold at Christie’s for $7.8m in November 2022 has shrunk. ArtTactic finds profits from guarantees decreased from 22% in 2021 to 11% in 2022. Its report concludes: “lower margins, coupled with interest rates on the rise and higher risks associated with the economic climate, could deter potential guarantors [in 2023].” This puts the auction houses in a difficult financial position. Their best tool for boosting supply and pre-sale confidence is becoming less profitable and less persuasive to risk-sharing partners when they most need it to keep their increasingly expensive businesses going. This week’s auction series in London reflects a shift: at time of writing, only five of the 185 lots being offered have attracted advanced third-party interest (3%) compared with 20 out of 147 at the equivalent sales last year (14%). Lower-priced categories, which rarely command guarantees—including luxury goods, collectibles and fashion items—are taking up some of the slack. Offering alternative incentives, such as a slice of the buyer’s premium, could

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“Auction houses’ best tool for boosting supply is becoming less profitable” keep the auction houses’ supply chain stable, albeit at the cost of lower profits. And, as we have seen in cooler periods before, works can be channelled through their private sales teams—though this area faces strong competition from the megadealers and sacrifices the PR benefits of public sales. Auction houses are responsible for putting guarantees and other financial sweeteners in the mix, but right now they might be yearning for simpler times. • Read Trade Secrets in the print edition of The Art Newspaper or online at theartnewspaper.com/series/trade-secrets

MELANIE GERLIS: © DAVID OWENS. CHRISTIE’S: FREDERIC J. BROWN/AFP VIA GETTY IMAGES

Auction houses have guaranteed a tough time for themselves

THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

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

THE ART NEWSPAPER: What are you looking out for at Frieze this year? NANO SAO: I’ll have a look around Frieze, but I’ll definitely be at 1-54. I’m taking a group of about 45 collectors around the fair. Personally, I’ll be looking for paintings by African and African American artists. Plus, Gallery 1957 has an artist that I’m quite excited about: Zak Ové, who is showing at Frieze Sculpture. We’re trying to see if we can get Zak to bring his work to Burning Man. Right now, I’m maxed out on NFTs [non-fungible tokens], prints

“I can buy a work by looking at it on my phone; 80% of the time I don’t have buyer’s remorse”

but he’s a little out of my price range! If you could have any work from any museum, what would it be? I don’t lust after other people’s work. Where do you like to eat and drink in London?  Maison Estelle, a members’ club in Mayfair with a tapas-style pantry. My favourite thing there is the very simple bruschetta and tomato. Do you have any parties lined up? The 1-54 x ArtReview party, and another at the Mandrake Hotel hosted by Gallery 1957. What’s your least favourite thing about art fairs? The very proud “Sorry, this work’s not available”.

Nana Sao The South African-born businessman, who helped bring a large-scale sculpture from Lagos to the Nevada desert, is developing a taste for tapestries and digital works. Early on, my collecting—especially having grown up in South Africa—was very political but I’m moving away from “woke” works. I’m looking for happier pieces and portraiture exhibiting very strong technical capabilities. I’m also looking for tapestries! I have very little of that right now.

How quickly do you decide to buy a work of art? Instantaneously. I can buy a work by looking at it on my phone; 80% of the time I’ve never had buyer’s remorse. Although I have had a few situations where a piece of work arrives and I look at it like, “what did I do?” There are times when I haven’t made a snap decision. Many years ago, I saw a Miriam Boehme work at a Paris fair and didn’t buy it—but it bothered me for two days and eventually I went back and got it.

Where do you go in London to get away from it all? Kyoto Gardens in Holland Park. Or if I’m with my daughter, the Princess Diana Memorial Garden at Kensington Palace, which she loves. What tip would you give to someone visiting London for the first time? Try to spend as much time in the city’s public spaces. Also, don’t get stuck in an Uber or a black cab. Taking the tube is a great way to get around and you can see a lot of London in a bus. Besides art, what else do you collect? Wine, tequila, mezcal and weird and esoteric sneakers. I use everything I collect. Interview by Chinma Johnson-Nwosu

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FRIEZE LONDON EDITIONS EDITORIAL Editors Lee Cheshire, Julia Michalska Deputy editor Alexander Morrison Contributors Georgina Adam, Louisa Buck, Alison Cole, Gareth Harris, Catherine Hickley, Kabir Jhala, Chinma Johnson-Nwosu, Chibundu Onuzo, Riah Pryor, Ben Luke, Scott Reyburn, Tim Schneider, Tom Seymour, Anny Shaw Production editor Hannah May Kilroy Design James Ladbury Sub-editing Andrew McIIwraith, Vivienne Riddoch Picture editor Heike Bohnstengel Photographer David Owens

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What was the last work you bought? Jean David Nkot’s Untitled (Mother and Child) (2020): a large-scale portrait work with intricate cartographic details.

Nana Sao made a second trip to a Paris fair to buy Marion Boehm’s Silent Heroes

Frieze Art Fair editions

Published by The Art Newspaper Ltd, 17 Hanover Square, London W1S 1BN, and by The Art Newspaper USA Inc, 130 West 25th Street, Suite 2C, New York, NY 10001. Registration no: 5166640. Printed by Elle Media Group, 7-8 Seax Way, Basildon SS15 6SW Printed on Soporset Offset using vegetable-based inks. The paper and printer are certified to ISO 14001 for environmental standards.

What was the first work you ever bought? A print of Mikhael Subotzky’s Haystack in the early 2000s. Mikhael was straight out of the University of Cape Town, and he came recommended by the art historian Barbara Lindop.

What do you regret not buying when you had the chance? Early on, I was shown some Amoako Boafo works for around $10,000 each. I didn’t like the paintings, so I passed on them. I like his work a lot more now

THE ART NEWSPAPER

Subscribe online at theartnewspaper.com The Resurrection of the Clothes Peg by Usha Seejarim was transported from Lagos to the Burning Man festival in the US

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PORTRAIT, MIRIAM BOEHME, BURNING MAN: COURTESY NANA SAO

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ana Sao is a South African born businessman who splits his time between his home country and the UK. He is a managing partner at Africa Capitalworks, an investment firm focused on companies in the sub-Saharan region, as well as the founder of youth charity The Sao Foundation. Sao collects African and African American art, and is on the board of advisers for the 1-54 Contemporary African Art Fair. Most recently he facilitated an international art project, which saw the large-scale sculpture The Resurrection of the Clothes Peg by Usha Seejarim assembled in Lagos, Nigeria and flown to Nevada in the US for the 2022 edition of the Burning Man festival.

Alvaro Barrington. Sky’s the Limit - « He Came Out Wit The Phrase, He Went From Ashy To Trashy» September 2023 (detail), 2023 enamel and pencil on concrete in Coogi jumper frame on concreted cardboard in walnut and concrete frame. 192 x 241,5 x 11,5 cm (75,59 x 95,07 x 4,52 in) © Alvaro Barrington

Alvaro Barrington at Frieze London Booth B4

Frieze Sculpture

pacegallery.com

Hank Willis Thomas, All Power to All People (bronze), 2023, Patina bronze, 248.9 × 110.5 × 6.4 cm © Hank Willis Thomas, Photograph: Daimian Griffiths

Louise Nevelson, Model for Celebration II, 1976, direct-welded aluminum painted black 281.9 × 152.4 × 147.3 cm © 2023 Estate of Louise Nevelson / Artists Rights Society (ARS), New York

Louise Nevelson

Hank Willis Thomas

THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

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FEATURE Sculpture

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hen it comes to wooing artists, stateof-the-art galleries with doubleheight ceilings, reinforced floors and ample natural light to show off the most technically ambitious sculptures have proved a sweetener, but dealers are increasingly looking beyond real estate in a bid to cater to—and monetise—a growing variety of creative needs.  Earlier this month, the mega-dealer Larry Gagosian launched Gagosian Open, a nomadic venture that invites artists to exhibit in offsite spaces, both in and outdoors. The idea came about after Gagosian decided to end the lease on his Britannia Street building in north London in the spring after developers took over. Instead of looking for another permanent bricks-and-mortar space (Gagosian had occupied Britannia Street for 20 years and currently has 19 spaces in seven countries), the gallery opted for something far more makeshift. “We decided to look at things completely inside out. It was a question of: what do artists actually want?”, says Stefan Ratibor, one of the gallery’s senior directors. “It turns out that our artists all want different things at different times.”  For the first show, Gagosian has procured a faded, privately owned building conserved in its original condition: a Georgian townhouse on Princelet Street in Spitalfields, East London, originally built to house Huguenot refugees and subsequently inhabited by migrants from Ireland and Poland. Inspired by this history, Gagosian contacted Christo’s estate, which quickly accepted the invitation to mount an exhibition of around 20 early wrapped works by the Bulgarian-born artist, who also identified as an outsider for most of his life. Christo escaped communist Bulgaria in 1956 and remained stateless for 17 years until he became a US citizen in the early 1970s.  If the exhibition appears more institutional than mega-gallery, the price tags are a reminder that this is a slick commercial operation; they range from €120,000 to €1.6m. Another dealer inhabiting the spaces beyond the white cube is Stephen Friedman, who opened a “public garden” as part of his new gallery on Cork Street on 6 October. David Shrigley has designed the gate as well as a text-based work for the top of a kiosk in the centre of the courtyard garden. Both pieces are permanent fixtures, while sculptures by Leilah Babirye, Woody De Othello and Izumi Kato are on temporary display (the last two are for sale). Works in the garden will be rotated throughout the year. Friedman notes how public sculpture has become “a bigger part of our programme”; two of his best-known artists—Shrigley and Yinka Shonibare—have won Fourth Plinth commissions. Describing the garden as “a bit of a hidden oasis”, the dealer says he felt it was “important to have somewhere for gallery visitors and passers-by to see outdoor sculpture, as well as a place to meet and dwell”. 

GOING BEYOND THE WHITE CUBE Galleries are finding new and unusual places to show art, from a former home for Huguenot refugees to a secret garden in the middle of Mayfair . By Anny Shaw

AMY STEPHENS: LINDA NYLIND. 19/09/2023

Under-represented voices Attracting up to one million visitors to Regent’s Park a year, Frieze Sculpture may be the art fair’s only “public-facing” show, but it is also designed to sell. In past years, deeper pocketed galleries who are better positioned to pitch for and participate in exhibitions of large-scale works have dominated the park. This year, under the eye of Fatos Üstek, who takes the reins as curator, smaller galleries— some just a year old—are getting a look in. Funding is a perennial issue, particularly since the costs of materials and shipping have skyrocketed since the pandemic. Frieze has this year stepped up its support for funding applications, including advising artists and galleries on opportunities for grants. This has enabled Üstek to bring under-represented voices to the table, including a larger proportion of female sculptors, who this year outweigh men by 11 to ten. A decade ago, four out of 20 artists were female, and, in 2005 when Frieze Sculpture launched, just one of the 11 artists was a woman.  The curator has also introduced new commissions for the 2023 edition, six out of eight of them by women. She notes that many are CONTINUED ON PAGE 12 

Think big: Amy Stephens’s Waking Matter (2023), on show in Regent’s Park, among eight new commissions by Frieze Sculpture this year, received support to help with costs

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THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

FEATURES Sculpture “either realising their very first public sculpture or their largest piece to date”. Among them are Amy Stephens’s Waking Matter (2023), a 2.5 tonne work made from recycled steel and an off-cut of Carrara marble from the same quarry that Michelangelo used. Stephens sold five newly created editions to cover costs, while Frieze awarded her a £4,000 bursary from Mtech Fine Art, which oversees the installation of Frieze Sculpture.

Art in search of a home However good they look on Instagram, monumental works are still a hard sell. The cost of transporting and displaying a piece that weighs several tonnes can give collectors pause for thought. Sales at Frieze Sculpture are rarely reported (dealers can be cautious about publicising big deals), though fortunes are already looking up this year. Before the fair opened, Nature Morte had sold Suhasini Kejriwal’s Garden of Un-Earthly Delights (2023) for an undisclosed sum. Across Frieze Sculpture, prices range from between £25,000 and £1.2m; half of the works are available at below £100,000. Other public art offerings in the capital operate more like museum exhibitions: some works are loaned by private collectors or galleries while others are commissioned. Though not strictly for sale, exhibiting works in a curated setting—for example, as part of Sculpture in the City or on The Line, a public art walk running between the Queen Elizabeth Olympic Park and the O2—adds value and could potentially lead to deals.  Despite their illustrious beginnings, finding homes for Trafalgar Square’s Fourth Plinth commissions has proved problematic. Earlier this year, the Guardian newspaper revealed that three-quarters of former

“Arts Council cuts have put pressure on trusts to provide funding for core costs” Megan Piper, co-founder, The Line commissions were in storage, prompting artist Rachel Whiteread to call for an end to the programme. Her own resin cast of the plinth has not been seen in public since appearing in Trafalgar Square in 2001. In response, Justine Simons, the deputy mayor for culture and the brains behind the Fourth Plinth, says the project “has elevated careers and supported a diverse range of voices that are often under-represented in the art world”. She thinks it is “absolutely right” that the contemporary art scene in London “is reflected and celebrated in the public realm, and not just inside the walls of the gallery”.  Shrigley’s 7m-tall black bronze Really Good (2016), described by Simons as a sign of “optimism and positivity” although perceived by some as a sarcastic thumbs up to Brexit Britain, has been in storage since its stint on the plinth in 2016-17, at a cost “probably approaching six figures”, the artist told the Guardian. Shrigley considered donating the work but did not want to burden a museum with the cost of transporting and displaying a sculpture that weighs several tonnes. The work is now en route to Australia, where it will go on show as part of the National Gallery of Victoria’s Triennial in Melbourne in December, after which it will permanently reside in Melbourne.

As government funding dries up—Shrigley’s sculpture was supported by a £130,000 grant from the mayor’s office—organisations are increasingly looking to patrons to plug the gaps. Last month, the artist platform Plinth and The Line jointly launched a series of limited editions by Rana Begum, Serge Attukwei Clottey and Laura Ford. Megan Piper, the co-founder of The Line, says they aim to raise at least £50,000 with the first round, building out the initiative next year as part of a rolling programme. “The support of collectors and patrons is really critical,” she adds. Ahead of The Line’s tenth anniversary in 2025, next year sees the inclusion of three new

Ringing the changes: Stephen Friedman Gallery’s public garden features a permanent kiosk topped with text by David Shrigley (right), while works such as Woody De Othello’s Thought in mind (2023) will rotate throughout the year

pieces by Helen Cammock, Katie Schwab and Albert Potrony, which have been co-commissioned by local East End residents. Though The Line is not a selling exhibition, Piper acknowledges that charities—including hers—are having to diversify their income. She notes how the Arts Council’s recent cuts to London institutions have “put pressure on trusts and foundations to provide funding for the core costs of a charity, not just their projects”.  But even wealthy trusts and foundations have limited resources, which is where the mega-galleries often have the advantage— and they, too, are diversifying their portfolios at a rapid rate.

STEPHEN FRIEDMAN GALLERY: PHOTO: © MARK BLOWER; © WOODY DE OTHELLO AND DAVID SHRIGLEY. COURTESY THE ARTISTS AND STEPHEN FRIEDMAN GALLERY

 CONTINUED FROM PAGE 11

Liu Ye

Emma McIntyre

london opening october 10

new york through october 28

Mamma Andersson

Dana Schutz

paris opening october 16

new york opening november 2

Frank Walter

Robert Ryman

hong kong through october 28

new york opening november 9

Toba Khedoori

Ad Reinhardt

new york through october 21

new york opening november 1

Njideka Akunyili Crosby

Franz West los angeles opening october 26

new york through october 28

David Zwirner

new york los angeles

london paris

hong kong online

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THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

INTERVIEW Artists

Claudette Johnson

‘I’m trying to introduce another gaze—a Black feminist gaze’ The artist discusses her Courtauld show and why Black men became subjects for her work. By Ben Luke

C

laudette Johnson has created some of the most powerful figurative art of recent decades in Britain. Since the early 1980s, she has used drawing and painting together in works that are bold yet sensitive, imposing in scale and intimate in their handling. They confront the historic invisibility, distortion and denial of Black subjects—and particularly Black women—in art. Born in 1959 in Manchester, and now living in London, she studied at Wolverhampton Polytechnic where she was part of the Blk Art Group with artists including Marlene Smith and Keith Piper. Infamously, her presentation on her work at the first National Black Art Convention at Wolverhampton in 1982 prompted a debate that precipitated a gathering of women artists, triggering a series of now legendary shows instigated by and featuring Lubaina Himid, Sonia Boyce, Ingrid Pollard and others, who, like Johnson, have only recently received due attention. After a period in which she barely showed her work between the 1990s and 2010s, in recent years Johnson has shown widely to much acclaim. Her first major museum presentation in London, featuring works ranging from her 1980s “semi-abstract” pieces to a new painting, is now open at the Courtauld Gallery.

In recent years, you’ve revisited it with Standing Figure with African Masks (2018) and Figure with Figurine (2019). Yes, they probably do refer to Les Demoiselles to some extent. But I was trying to think about my relationship with West African sculpture and mask-making. I was trying to speak across that distance of my experience as a Black British woman and my interest in this Picasso work and my contact with masks in museums and in books; it’s not part of my history in the same way but there’s a charge that it has for me that becomes exciting when I bring it into contact with a live figure, in this case myself. I was trying to speak about all the different connections—that it’s a fractured dialogue, it’s slightly uncomfortable. It’s certainly unresolved for me, but I wanted to put those things in play together in the same space and see what they did.

THE ART NEWSPAPER: You have a show at the Courtauld. Inevitably, there’s an element of its history that must creep into your thinking. Has that been something that you’ve enjoyed? Exhibiting in spaces that are full of historic masterpieces can be a weighty experience.  CLAUDETTE JOHNSON: Yes, I have been curious about how the work will sit alongside the venerable collections that they have. There’s lots of work there that I love: Van Gogh and Lautrec, of course, and Gauguin. I have speculated about how the work will be read in that space, whether it feels as though there’s a conversation between work made with a gap of 120 or 150 years. But it feels very exciting to me that that is happening, that we’ve arrived at a moment where somebody thinks it’s an interesting thing to do to put my work in that setting. Johnson’s Courtauld show—her first major exhibition at a London museum—covers her career from the 1980s Your works often feature relatively unresolved or open passages. You’ve explained that with these elements you were “putting Black bodies together again in the work but reflecting the discontinuities in our histories”. Can you explain more? That quote refers to a work from 1982, I Came to Dance, and is about the role of dance in its positive and negative senses for Black people in terms of our history. I wanted to make a drawing where the spaces reflected that history as much as the line and developed areas. I have an idea about working with images of Black people that is concerned with the difficulty of telling something that might seem like a continuous or whole story; I don’t know how to do that and I don’t have that history myself. The work reflects the gaps that I feel I had in my own history, as well as those that, in a broader sense, most diasporic Black Caribbean people have, too. When you talk about space, are you talking about it in the broad associations of that word—societal space, historical space, as well as pictorial space? Yes, I knew straight away that my drawings of Black people were not

going to feature furniture or references to their lifestyle in terms of housing or location, because I really wanted to centre things on the body itself, and tell as much of a story as I could with the body. From the start, there were radical gestures— forms that cut through the works. Works like And I Have My Own Business in This Skin (1982) or Woman with Earring (1982) or I Came to Dance were driven by an opening line or a closing line. Sometimes I would begin by choosing to make a line that maybe bisected the area and then I would build the figure out of that line. At other times—with works like And I Have My Own Business in This Skin—the line that bisects the figure came right at the end and was just a freeing moment of realising I could exaggerate what was happening in the body with this single, jagged line. Some of the inspiration for that came from Picasso’s Les Demoiselles d’Avignon (1907). The way he’s breaking space in that work was inspirational for me. When I went to New York earlier this year, I saw Les Demoiselles for the first time in real life—saw the scale and the colour—and phew, it still does something to me.

Kind of Blue (2020) reflects the recent shift in Johnson’s practice to include Black men among her subjects You’ve described the first time you saw it in reproduction in your second year at Wolverhampton as a critical moment in terms of those semi-abstract works. Yeah, I definitely felt: “I don’t have to work from life, I can work from my imagination, I can let my imagination run wild.”

You made a deliberate choice relatively recently to depict Black men in your work because they were increasingly “targeted and vilified”, you said. Was there a particular incident? Or was it an accumulation of relentless targeting and vilification that you were responding to? There was a specific image that brought me into depicting Black men, which was an image I saw in a New York Times article. And I suppose it just crystallised something I’ve been thinking about for a long time, which is the vulnerability of Black men in terms of how they’re viewed by wider society. Somehow, that came into focus in a way that it hadn’t when I was younger, when I was very focused on Black women—that we needed to be heard, we needed to be visible. Whereas more recently, I feel I’ve got something to say about what’s happening to Black men and I want them to be present in the work. Someone speculated recently that maybe this was because I have two sons—young men—and I worry about them in the world, although they are doing fine. So that’s not an unreasonable assumption to make. But, again, it’s the wider political sense of what it means to represent Black male figures, and what I can bring to how I represent them that might tell a different story than the one people are used to thinking about. • Claudette Johnson: Presence, The Courtauld, until 14 January 2024 This is an edited transcript of an interview that was recorded for our podcast A Brush With. Listen to it wherever you get your podcasts

PORTRAIT: © ANNE TETZLAFF. KIND OF BLUE: PHOTO: ANDY KEATE; © CLAUDETTE JOHNSON; IMAGE COURTESY THE ARTIST AND HOLLYBUSH GARDENS, LONDON

You talked about the leap of imagination that seeing the Picasso gave you when you were a student, but were you also wary? I was wary of Picasso, to some extent. But I should point out that when I made Standing Figure with African Masks, I was actually looking back to And I Have My Own Business in This Skin, and that was the work that had referred back more directly to Les Demoiselles. Thinking about that work and about its links to that earlier work really allows me to return to some of the things I was trying to talk about in that Wolverhampton conference when I presented my own work; I was using the form of Modernism and early Modernists but I believed I was saying something perhaps original or direct about Black female experience. And where my work departs from Picasso’s is in that I am trying to subvert that male gaze. I am trying to introduce another gaze; a Black feminist gaze, if you like.

20TH CENTURY EVENING SALE AUCTION

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9 November 2023 • New York

PUBLIC VIEWING CONTACT

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10–13 October 2023 • 8 King Street • London SW1Y 6QT

Emily Kaplan • [email protected] • +1 212 484 4802

Property from a Private Collection FRANCIS BACON (1909–1992) Figure in Movement, 1976 Oil and dye transfer lettering on canvas 78 x 58 in (198.1 x 147.3 cm) Estimate on request © The Estate of Francis Bacon. All rights reserved / DACS, London / ARS, New York 2023.

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THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

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IN PICTURES Frieze Masters

Artists and their

studios Sheena Wagstaff, the former chair of the department of Modern and contemporary art at the Metropolitan Museum of Art in New York, has curated a new section at Frieze Masters called Studio, made with artists and for artists. “The studio represents not just the stuff that artists pin on their studio walls, or the material that accumulates in the corner of their places of making, but it also symbolises their knowledge, expertise and manual dexterity: the material intelligence that each of these artists has,” Wagstaff says. Here, she picks five artists from the section, “who just happen to be women”. Interview by Alison Cole Fair photographs by David Owens

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Arlene Shechet

“Arlene Shechet’s studio in Woodstock is just around the corner from where Philip Guston used to live. On the wall in her studio was a quote by George Kubler: ‘the nature of time is the space between the two ticks of a clock’. This group of sculptures is a result of her being isolated in Woodstock during Covid. She has a little kiln at home and during the pandemic there was no help at all—so she started to make these much smaller sculptures. She wants them to be seen as inherently unstable, so they are almost teetering on the edge. It is this liminal state of being, solidly placed and yet in motion, that she is after.”

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Maggi Hambling

“Maggi Hambling produced this new series of paintings in less than two years. She was doing a rare exhibition in New York, and the evening before the opening she was at dinner and had a heart attack. And then she got Covid in the hospital. Never in her life had she been away from making art for so long. When she arrived back at Heathrow, she went straight to Suffolk and into the studio. When I first saw these works, it felt like they were a kind of aggregate of all her work to date, but with a new urgency. The brush strokes very often denote a mouth or an orifice. They are kind of vortexes, but there is no void beyond—you are stopped at the heart of the vortex by paint. So much of Hambling’s work focuses on the mouth; mouths and vaginas, orifices and apertures to the body, the places where breath, birth and frankly death happens.”

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Hyun-Sook Song

“All of Song’s canvases are painted in tempera, and there is one little motif that comes through in all her work—shoes. During the Korean War, many women were abducted (because the female body is the site of war in the first instance), and often all that was left was their shoes. Song went to Germany at the age of 19, and eventually

started painting and went to art school. Her studio is attached to her home in Hamburg, and her work draws on the history of Western painting. She loads up her brush and has a wooden contraption on the floor, which she lies on with her canvas beneath. She holds her breath while applying the paint, which is like skeins of silk threads. Sometimes there is a small judder as she maybe takes a breath.”

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Lucia Laguna

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Mona Hatoum

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“Lucia Laguna is an artist from Rio de Janeiro whose work I encountered at Sadie Coles. She taught history and literature to teenagers at a public school near a favela in Rio, and then in her early 50s she had had enough. She had always introduced images into her lessons, as the visual was more immediate than text for her pupils. Laguna then committed herself to art. She took photos, images out of books (she has the most amazing art history library) and her pantheon of artists is large. She makes collages of photos and other images and paints up the composition with her studio assistants in a process of addition and abrasion until she achieves a compositional unity.”

“Mona Hatoum’s studio is constructed around Man Ray’s photo of Dora Maar, which Man Ray then manipulated to put a spiderweb on top. The spider itself is an organism that is at the centre of something beautiful, but the web and the filament are also the site of death and destruction. Hatoum makes grenades in collaboration with Murano glass craftsmen, which are extraordinary and speak to this notion of beauty; and then you realise that they are instruments of death. The spiderweb, the cage, the bed springs, all speak to this theme and a cabinet made especially for the show, which contains organs in red glass, some of which are pressed up against the sides as if trying to escape.”

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THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

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WAGSTAFF PORTRAIT: © DANIEL DORSA

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T Y L E R H AY S

October 6 - November 24 BDDW, 50 Vyner Street, London

9-12 NOV 2023 GRAND PALAIS éPHéMèRE

Eddie Martinez, Medium Loggia, 2023 © Eddie Martinez

Eddie Martinez Enough 15 Bolton Street, London 12 Oct – 18 Nov 2023

timothytaylor.com

Studio Wall Redux Frieze London, Booth A14 11– 15 Oct 2023

THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

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NEWS Indigenous art

Cork Street opens doors to Australian art’s diversity

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or his first ever London show, the acclaimed Indigenous Australian artist Tony Albert is assuming the role of both artist and curator. Despite a practice spanning two decades and with a number of accolades to his name, including the recently announced Fondation Cartier First Nations Curatorial Fellowship, a London exhibition has “evaded my career”, Tony Albert tells The Art Newspaper from his Brisbane studio. And for his first London outing he’s not going it alone. Conceived by Albert and co-curated with London-based Jenn Ellis, Story, Place presents the work of eight “Indigenous and diasporic artists” under the themes of land, ancestry and belief. Occupying the entirety of Frieze’s flagship bricks-and-mortar gallery at No.9 Cork Street and coinciding with Frieze London, Story, Place—a collaboration with Sullivan+Strumpf gallery, Indigenous community art centre Buku-Larrnggay Mulka Centre in Australia’s Northern Territory and Apsara Studio—asserts “indigenous perspectives of understanding”, Albert

says. It also addresses colonialism, climate change and other “destructive elements which completely unite us globally at the moment”. The exhibition includes five other Australian artists: Naminapu MaymuruWhite and Gunybi Ganambarr from the Northern Territory; Lindy Lee, a second-generation Chinese Australian from New South Wales; Los Angelesbased Palawa woman Jemima Wyman; and Samoan Australian Angela Tiatia

The show’s artists include Naminapu Maymuru-White, from the Maŋgalili clan in Australia’s Northern Territory

from Brisbane. Their works will be shown alongside those by Shiraz Bayjoo, a Mauritian artist based in London, and Edgar Calel, a Mayan Kaqchikel from Guatemala. “I didn’t want to just bring this group of Australian artists but to actually engage with the London community,” Albert says.

Australian arts revival In Albert’s own work, also named Story, Place, audiences will encounter a sprawling installation composed largely of ‘Aboriginalia’, kitsch representations of Australia’s First Peoples once produced en masse for tourists, juxtaposed with text pieces. In a first, Albert has heavily intervened with these items, to “give voice to these objects”, he says. Story, Place is the first international project supported by the newly formed government advisory body Creative Australia, which replaced the Australia Council in August. The change is part of a five-year plan to “revive Australia’s arts”, and is a centrepiece of a new National Cultural Policy (NCP). It is the first such policy in nearly three decades.

Artist Tony Albert’s group show aims to put Indigenous perspectives centre stage With an expanded remit, an additional A$50m in funding and objectives to prioritise First Nations artists, a diversity of voices and the contributions of all Australians to the arts, the NCP heralds the arts’ return as a government priority, and is an about face from the former prime minister Scott Morrison’s 2020 decision to scrap the arts ministry. For Lee, who was recently appointed to the board of Creative Australia, policy is about leadership. “When I was

growing up [Australia had] the White Australia policy,” Lee says, referring to the Immigration Restriction Act 1901, which was abolished in 1966 and was “devastating for the Asians of this country and those who were not white.  “So, if we have a cultural policy that can lead Australia to having a better, more expansive vision of ourselves, isn’t that a good thing?”, he asks. Tim Stone • Story, Place, No. 9 Cork Street, until 21 October

TONY ALBERT: RHETT HAMMERTON, COURTESY OF SULLIVAN+STRUMPF. NAMINAPU MAYMURU-WHITE: NAMINAPU MAYMURU-WHITE, SULLIVAN+STRUMPF

Australia’s new cultural initiative launches its international arm at Frieze London with a group show co-curated by the Indigenous artist Tony Albert

Art week, every day.

Learn more about this work on the National Portrait Gallery guide. Bloomberg Connects puts hundreds of arts and cultural institutions DW\RXUɡQJHUWLSV'RZQORDGQRZ

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THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

WHAT’S ON Frieze week

In her series Nature Self-Portrait #5 (1996), Laura Aguilar, a Chiquana LGBTQ artist, is seen intertwined with boulders and branches. Also in the Barbican show are works by the Cuban American artist Ana Mendieta and the Brazilian activist Uýra

Natural causes: artists address climate crisis in inventive ways With world temperatures hitting record highs this summer, a plethora of exhibitions in London and beyond explore our relationship to the planet RE/SISTERS: A Lens on Gender and Ecology Barbican, London

AGUILAR: © LAURA AGUILAR TRUST OF 2016. GIBSON: COURTESY OF ROYAL BOTANIC GARDENS, KEW

UNTIL 14 JANUARY 2024

What can art do about a crisis? This is a question that a growing number of museums across the world have been faced with as they mount exhibitions addressing the climate emergency. In the past six months alone, institutions ranging from London’s Hayward Gallery (Dear Earth, now closed) to the Museum of Modern Art in New York (Emerging Ecologies: Architecture and the Rise of Environmentalism, until 20 January 2024) have opened eco-themed exhibitions. This month, a spate of new shows across London take up the baton, offering fresh perspectives on the subject’s relationship to wider society and taking the conversation out into the “real world”. RE/SISTERS: A Lens of Gender and Ecology, at the Barbican (until 14 January 2024), explores the “systemic links” between the oppression of women and the exploitation of the planet, says Alona Pardo, its curator. It brings

together a group of around 250 works by women and gender nonconforming artists—a large portion from indigenous communities and the Global South—that focus on care and connection. Among the highlights is Chicana LGBTQ artist Laura Aguilar’s photo series Nature Self-Portrait #5 (1996), in which she depicts her plus-sized body intertwined with objects such as a boulder and tree branches. These are works that “defy Western standards of beauty”, Pardo says, and question “how nature has been represented and who owns that space”. The exhibition also features “earth-body” works by the Cuban American artist Ana Mendieta, which emphasise our primordial connection to the land, as well as documentation of drag performances by the Brazilian artist and activist Uýra that draw attention to the ecology of the Amazon basin. For Pardo, this is much more than a show about the climate; it is about dual injustices and “how women have resisted,

and are constantly taking the fight back and bringing these two struggles together”.

Highlighting green spaces Meanwhile, over at the William Morris Gallery in east London (21 October-18 February 2024), a new version of Radical Landscapes— previously on view at Tate Liverpool—will highlight the socialist, utopian philosophies of Morris himself. The designer and thinker wrote extensively on the dangers of allowing our green spaces to be overrun by industrialisation. Rooms devoted to his ideas will be bookended by displays of what the British landscape signifies to artists as diverse as Thomas Gainsborough, Anthea Hamilton, Jeremy Deller and Veronica Ryan. The emphasis here will be on making these topics relevant to the communities closest to the gallery itself. “We wanted to integrate ideas around who has access to the land, particularly in a local context,” says Rowan Bain, the exhibition’s co-curator. Special commissions include a series by the

photographer Abel Holsborough comprising portraits of Windrush generation allotment holders across the London borough of Waltham Forest, while an expansive public programme will feature activities such as a night walk, stargazing sessions and still-life drawing. For Bain, putting on a show about climate change alone just “doesn’t work”. Instead, her mission is to “highlight the green space we have around us”. This simple idea is one that other museums across the UK are inventively responding to. Queer Nature at Kew Gardens (until 29 October), also in London, will be an eclectic festival celebrating the diversity of British plant life and fungi, with a special commission by Jeffrey Gibson—the artist selected to represent the US at the 2024 Venice Biennale—at its heart. The Sainsbury Centre in Norwich, meanwhile, recently announced a programme of exhibitions, interventions, collection displays, artist-led workshops and more that will take place across its leafy grounds and “mobilise the Sainsbury Centre as a space of hope”. Such shows could not come at a more critical time. This July was the hottest month ever recorded, according to the EU’s Copernicus Climate Change Service (C3S), and the summer saw wildfires spread across Europe and the US. Without immediate change, the 1.5 degrees celsius global warming threshold set in the 2015 Paris Agreement is all but certain to be breached, after which scientists expect dire, irreversible ecological damage to occur. Still, critics increasingly ask, what can art truly contribute in a struggle that requires practical, drastic action on a grand scale? Artists will be continually trying to come up with answers of their own. Alexander Morrison

○ Museums and

public galleries 180 The Strand 180 Strand, WC2R 1EA • UVA: Synchronicity 12 OCTOBER-17 DECEMBER

Auto Italia 44 Bonner Road, E2 9JS • RM Collective: A Story Backwards UNTIL 3 DECEMBER

Barbican Silk Street, EC2Y 8DS • RE/SISTERS: A Lens on Gender and Ecology UNTIL 14 JANUARY 2024

British Museum Great Russell Street, WC1B 3DG • Ed Ruscha: Roads and Insects UNTIL 28 JANUARY 2024 • The Genius of Nature: Botanical Drawings by Jacques Le Moyne de Morgues UNTIL 28 JANUARY 2024

Camden Art Centre Arkwright Road, NW3 6DG • Tamara Henderson: Green in the Groves UNTIL 31 DECEMBER • Marina Xenofontos: Public Domain UNTIL 31 DECEMBER

Chisenhale Gallery 64 Chisenhale Road, E3 5QZ • Benoît Piéron UNTIL 12 NOVEMBER

The Courtauld Strand, WC2R 0RN • Claudette Johnson: Presence UNTIL 14 JANUARY 2024

Design Museum 238 Kensington High Street, SW8 6AG • Rebel: 30 Years of London Fashion UNTIL 11 FEBRUARY 2024

Dulwich Picture Gallery Gallery Road, Dulwich, SE21 7AD • Rubens and Women UNTIL 28 JANUARY 2024 • Sara Shamma: Bold Spirits UNTIL 25 FEBRUARY 2024

Estorick Collection 39a Canonbury Square, N1 2AN • Lisetta Carmi: Identities UNTIL 17 DECEMBER

The Foundling Museum 40 Brunswick Square, WC1N 1AZ • The Mother & The Weaver: Art from the Ursula Hauser Collection UNTIL 18 FEBRUARY 2024

The Freud Museum 20 Maresfield Gardens, NW3 5SX • Tracing Freud on the Acropolis UNTIL 7 JANUARY 2024

Hayward Gallery Southbank Centre, Belvedere Road, SE1 8XX • Hiroshi Sugimoto 11 OCTOBER-7 JANUARY 2024

Garden Museum 5 Lambeth Palace Road, SE1 7LB • Frank Walter: Artist, Gardener, Radical UNTIL 25 FEBRUARY 2024

Gasworks 155 Vauxhall Street, SE11 5RH • Trevor Yeung: Soft Ground UNTIL 17 DECEMBER

Goldsmiths CCA

Jeffrey Gibson’s installation House of Spirits (2023), part of the Queer Nature festival at Kew Gardens

St James’s, New Cross, SE14 6AD • Esteban Jefferson UNTIL 14 JANUARY 2024 • Karrabing Film Collective UNTIL 14 JANUARY 2024

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Bring

Clothes No

Bloomsbury and Fashion 13 Sep 2023–7 Jan 2024 charleston.org.uk Dior Men Summer 2023 at Charleston; photographer: ShuoShuo Xu. Image courtesy of Harper’s Bazaar China

THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

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WHAT’S ON Frieze week ICA, Institute of Contemporary Arts The Mall, SW1Y 5AH • Gray Wielebinski: The Red Sun is High, the Blue Low UNTIL 23 DECEMBER

National Gallery Trafalgar Square, WC2N 5DN • Frans Hals UNTIL 21 JANUARY 2024 • Paula Rego: Crivelli’s Garden UNTIL 29 OCTOBER

National Portrait Gallery St. Martin’s Place, WC2H 0HE • Yevonde: Life and Colour UNTIL 15 OCTOBER

South London Gallery 65 Peckham Road, SE5 8UH • Lagos, Peckham, Repeat UNTIL 29 OCTOBER

Studio Voltaire 1a Nelsons Row, SW4 7JR • Solomon Garçon: Arms UNTIL 14 JANUARY 2024 • Unearthed Collective: Where can we be heard? UNTIL 29 OCTOBER

Tate Britain Millbank, SW1P 4RG • Sarah Lucas: Happy Gas UNTIL 14 JANUARY 2024

Tate Modern

20 Brownlow Mews, WC1N 2LE • Anna Uddenberg: Home Wreckers UNTIL 22 DECEMBER

Bankside, SE1 9TG • Philip Guston UNTIL 25 FEBRUARY 2024 • Hyundai Commission: El Anatsui UNTIL 14 APRIL 2024 • A World in Common: Contemporary African Photography UNTIL 14 JANUARY 2024 • Capturing the Moment UNTIL 28 JANUARY 2024

The Photographers’ Gallery

Van Gogh House

18 Ramillies Street, W1F 7LW • Daido Moriyama: a Retrospective UNTIL 11 FEBRUARY 2024 • Mino Kajioka: How Long is Now? UNTIL 19 NOVEMBER

87 Hackford Road, SW9 0RE • The Living House UNTIL 17 DECEMBER

Newport Street Gallery 1 Newport Street, SE11 6AJ • Brian Clarke: A Great Light UNTIL 31 DECEMBER

The Perimeter

Royal Academy of Arts Burlington House, Piccadilly, W1J 0BD • Marina Abramović UNTIL 1 JANUARY 2024 • Herzog & de Meuron UNTIL 15 OCTOBER

Serpentine North West Carriage Drive, W2 2AR • Third World: The Bottom Dimension UNTIL 22 OCTOBER

Serpentine South Kensington Gardens, W2 3XA • Georg Baselitz: Sculptures 2011-2015 UNTIL 7 JANUARY 2024

Victoria & Albert Museum Cromwell Road, SW7 2RL • Gabrielle Chanel: Fashion Manifesto UNTIL 25 FEBRUARY 2024 • Diva UNTIL 7 APRIL 2024 • Prix Pictet Human 2023 UNTIL 22 OCTOBER

The Wallace Collection Manchester Square, W1U 3BN • Portraits of Dogs: From Gainsborough to Hockney UNTIL 15 OCTOBER

Wellcome Collection 183 Euston Rd., London NW1 2BE • Larry Achiampong and David Blandy: Genetic Automata UNTIL 11 FEBRUARY 2024

Whitechapel Gallery

63 Penfold Street, NW8 8PQ • Marianne Keating: An Ciúnas / The Silence 12 OCTOBER-13 JANUARY 2024

82 Whitechapel High Street, E1 7QX • Nicole Eisenman: What Happened 11 OCTOBER-14 JANUARY 2024 • Anna Mendelssohn: Speak, Poetess 11 OCTOBER-21 JANUARY 2024

Somerset House Studios

William Morris Gallery

Strand, WC2R 1LA • Sonya Dyer: Three Parent Child UNTIL 12 NOVEMBER

Lloyd Park, Forest Road, E17 4PP • Radical Landscapes 21 OCTOBER-18 FEBRUARY 2024

The Showroom

UNTIL 17 NOVEMBER

Hauser & Wirth

Marina Abramović gets royal treatment at the academy

23 Savile Row, W1S 2ET • Avery Singer: Free Fall UNTIL 22 DECEMBER

Marina Abramović Royal Academy of Arts

Huxley-Parlour, Swallow Street

It is hard to overstate Marina Abramović’s influence on contemporary art. Since establishing her reputation in the 1970s, the starry Serbian artist has redefined the nature of performance art and propelled it onto the world stage. The Royal Academy of Arts was due to open the UK’s first major retrospective of her work in September 2020, but it was postponed due to Covid19. “We used the intervening years to start again from scratch,” says the exhibition’s curator, Andrea Tarsia. “Marina has been generous in developing not one but two exhibitions with us.” Spanning the 50-year career of the artist, who was born in Belgrade in 1946, the much-anticipated survey charts her practice through photographs, videos, objects and installations, as well as four of her ground-breaking performance pieces. Visitors can experience reruns of Imponderabilia (1977),

○ Galleries:

46 Mortimer Street, W1W 7RL • Amber Pinkerton—Self Dialogues: Hard Food UNTIL 11 NOVEMBER

Alison Jacques 22 Cork Street, W1S 3LZ • Sheila Hicks: Infinite Potential UNTIL 18 NOVEMBER

Amanda Wilkinson 1st Floor, 47 Farringdon Road, EC1M 3JB • Derek Jarman: Queer UNTIL 16 DECEMBER

Annely Juda 23 Dering Street, W1S 1AW • Elizabeth Magill: By This River UNTIL 4 NOVEMBER • Philipp Goldbach: Verso UNTIL 4 NOVEMBER

Friday 13 October Sotheby’s 1pm Contemporary Day Auction

Phillips 3pm 20th Century & Contemporary Art Evening Sale

Christie’s 5pm 20th/21st Century: London Evening Sale

7pm Masterpieces from the Collection of Sam Josefowitz: A Lifetime of Discovery and Scholarship

Saturday 14 October Christie’s 1pm Post-War and Contemporary Art Day Sale

Hollybush Gardens 2 Warner Yard, EC1R 5EY • Siobhan Liddell: Been and Gone UNTIL 21 OCTOBER

Huxley-Parlour, Maddox Street 45 Maddox Street, W1S 2PE • Kate Gottgens: A String of Signs UNTIL 21 OCTOBER 5 Swallow St, W1B 4DE • David Benjamin Sherry: Mother UNTIL 21 OCTOBER

indigo+madder 12- 4 Whitfield St, W1T 2RF • Leo Robinson: On Exactitude UNTIL 11 NOVEMBER

Josh Lilley 40-46 Riding House Street, W1W 7EX • Gareth Cadwallader: Let Me See The Colts UNTIL 11 NOVEMBER

Lehmann Maupin 1 Cromwell Place, SW7 2JE • Kader Attia & Mandy El-Sayegh UNTIL 4 NOVEMBER

Lisson Gallery, Lisson Street 67 Lisson Street, NW1 5DA • Li Ran: Waiting for the Advent UNTIL 28 OCTOBER

Lisson Gallery, Bell Street Fitting tribute: the 1977 performance of Imponderabilia, featuring Abramović and Ulay, is being restaged for the Royal Academy show

27 Bell Street, NW1 5BY • Ryan Gander: PUNTO! UNTIL 28 OCTOBER

Luxembourg + Co which saw Abramović and her former partner and collaborator, the late German performance artist Ulay, stand naked in a narrow entrance, forcing visitors to squeeze between them and choose who to face.  Developed in close collaboration with Abramović,

the show concludes with a reperformance of The House with the Ocean View (2002), an intense durational work in the wake of 9/11 in which the artist lived within three specially constructed units at New York’s Sean Kelly gallery for 12 days, subsisting only on water. Chloë Ashby

2 Savile Row, W1S 3PA • Katsumi Nakai: Unfolding UNTIL 9 DECEMBER

Lyndsey Ingram 20 Bourdon Street, W1K 3PL • Katy Stubbs: Smoke and Mirrors UNTIL 10 NOVEMBER

Mamoth 3 Endsleigh Street, WC1H 0DS • Ted Gahl: Café Nervosa UNTIL 3 NOVEMBER

Marlborough

Alice Black

Stanley Whitney’s Fellow Traveler (2014) is on sale in today’s 20th/21st Century London Evening Sale at Christie’s

38 Bury Street, SW1Y 6BB • Maggi Hambling: Maelstrom UNTIL 24 NOVEMBER

UNTIL 1 JANUARY 2024

Central Auctions

Hazlitt Holland-Hibbert

12a Savile Row, W1S 3PQ • Arnaud Adami: The Visible Turn UNTIL 28 OCTOBER

• Simeon Barclay: At Home, Everywhere and Nowhere UNTIL 11 NOVEMBER

Castor

Ginny on Frederick

12-14 Whitfield Street, W1T 2RF • Des Lawrence: Oh my absolute complete and utter everlasting days! UNTIL 18 NOVEMBER

93 Charterhouse St, EC1M 6HR • Choon Mi Kim: ACID—FREEEE UNTIL 28 OCTOBER

Cristea Roberts

26 Cork Street, W1S 3ND • Shirin Neshat: The Fury UNTIL 11 NOVEMBER

43 Pall Mall, SW1Y 5JG • Yinka Shonibare: Ritual Ecstasy of the Modern UNTIL 4 NOVEMBER

David Zwirner 24 Grafton Street, W1S 4EZ • Liu Ye: Naive and Sentimental Painting UNTIL 18 NOVEMBER

Edel Assanti 1B Little Titchfield Street, W1W 7BU • Sylvia Snowden: M Street on White UNTIL 28 OCTOBER

Flowers, Cork Street

Frith Street Gallery

35 Duke Street, W1U 1LH • Phoebe Collings-James: bun babylon; a heretics anthology UNTIL 28 OCTOBER

18 Golden Square, W1F 9JJ • Małgorzata Mirga-Tas UNTIL 11 NOVEMBER

Belmacz

17 Davies Street, W1K 3DF • Richard Prince: The Entertainers UNTIL 16 NOVEMBER

Bernard Jacobson 28 Duke Street, SW1Y 6AG • William Tillyer: The Mulgrave Tensile Wire Works UNTIL 28 OCTOBER

Ben Brown Fine Arts 12 Brook’s Mews, W1K 4DG • José Parlá: Phosphene 11 OCTOBER-17 NOVEMBER

Carl Kostyal

Grimm Gallery

Modern Art, Bury Street

35 Bury St, SW1Y 6AY • TALPUR UNTIL 18 OCTOBER

7 Bury Street, SW1Y 6AL • Michael E. Smith UNTIL 11 NOVEMBER

Hamiltons Gallery

No. 9 Cork Street

13 Carlos Place, W1K 2EU • Albert Watson: SKYE

9 Cork Street, W1S 3LL • Story, Place UNTIL 21 OCTOBER

Offer Waterman 17 St George Street, W1S 1FJ • On Foot UNTIL 28 OCTOBER

Ordovas 25 Savile Row, W1S 2ES • Francis Bacon & Andy Warhol: Endless Variations UNTIL 15 DECEMBER

Pace 5 Hanover Sq, W1S 1HE • Robert Irwin & Mary Corse: Parallax UNTIL 11 NOVEMBER

20 Grosvenor Hill, W1K EQD • Richard Prince: Early Photography 1977–87 UNTIL 22 DECEMBER

Phillida Reid 10-16 Grape Street, WC2H 8DY • Prem Sahib: The Life Cycle of a Flea UNTIL 8 NOVEMBER

Galerie Max Hetzler

5 Warwick Street, W1B 5LU

Michael Werner

Grosvenor Gallery

Gagosian, Grosvenor Hill

Gathering

15 Old Bond Street, W1S 4PR • The Paradox of Proximity: Agostino Bonalumi and Lee Seung Jio UNTIL 30 NOVEMBER 22 Upper Brook Street, W1K 7PZ • James Lee Byars & Seung-taek Lee: Invisible Questions that Fill the Air UNTIL 18 NOVEMBER

Gagosian, Davies Street

41 Dover Street, W1 4NS • Eleanor Swordy: Busy Signal UNTIL 28 OCTOBER

Mazzoleni

2 Bourdon Street, W1K 3PA • Anthony Cudahy: Double Spar UNTIL 11 NOVEMBER

21 Cork Street, W1S 3LZ • Aida Tomescu: With the Crimson Word UNTIL 28 OCTOBER

Arcadia Missa

45 Davies Street, W1K 4LX • Women of the 20s UNTIL 22 DECEMBER

Goodman Gallery

6 Albemarle Street, W1S 4BY • Alexander James: Tuck Shop for the Wicked UNTIL 18 NOVEMBER • Deanio X: Symphony of Storms UNTIL 18 NOVEMBER

Pilar Corrias Claudette Johnson’s Figure with Figurine (2019) from the artist’s retrospective at the Courtauld

51 Conduit Street, London W1S 2YT

 CONTINUED ON PAGE 26

ABRAMOVIĆ: COURTESY OF THE MARINA ABRAMOVIĆ ARCHIVES; © ULAY/MARINA ABRAMOVIĆ . WHITNEY: CHRISTIE’S IMAGES LTD. 2023. JOHNSON: PHOTO: ANDY KEATE; COURTESY OF THE ARTIST AND HOLLYBUSH GARDENS, LONDON

 CONTINUED FROM PAGE 23

ISAAC JULIEN ORGANIZED BY

Yale Center for British Art Yale School of Architecture ON VIEW

Yale Architecture Gallery New Haven, Connecticut August 24 to December 10

Isaac Julien, Lina Bo Bardi — A Marvellous Entanglement (2019). © Isaac Julien 2019. Installation view, Yale School of Architecture, 2023. Photo by Michael Ipsen, Yale Center for British Art.

Lina Bo Bardi — A Marvellous Entanglement

THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

26

WHAT’S ON Frieze week  CONTINUED FROM PAGE 24

• Florian Meisenberg: What does the smoke know of the fire? UNTIL 21 OCTOBER

• Christina Quarles: Tripping Over My Joy UNTIL 16 DECEMBER 2 Savile Row, W1S 3PA • Cui Jie: Thermal Landscapes UNTIL 4 NOVEMBER

Maureen Paley 60 Three Colts Lane, E2 6GQ • Eduardo Sarabia: Prologue UNTIL 22 OCTOBER

Modern Art

Pippy Houldsworth

8 Helmet Row, EC1V 3QJ • Justin Caguiat: Dreampop UNTIL 4 NOVEMBER

6 Heddon Street, W1B 4BT • Wangari Mathenge: A Day of Rest UNTIL 4 NOVEMBER

Mother’s Tankstation

Richard Saltoun 41 Dover Street, W1S 4NS • The Resistance of Pen and Paper UNTIL 4 NOVEMBER

Philip Guston’s Flatlands (1970), from the artist’s show at Tate Modern, which recently opened after being postponed from 2020 • Sylvie Fleury: S.F. UNTIL 4 NOVEMBER

Robilant + Veona

South Parade

38 Dover St, W1S 4NL • Daniel Ambrosi: AI and the Landscapes of Capability Brown UNTIL 15 DECEMBER

Griffin House, 79 Saffron Hill, EC1R 5BU • Ellie Pratt: Taste Maker UNTIL 4 NOVEMBER

Saatchi Yates 14 Bury St, St James’s, London SW1Y 6AL • Will St. John UNTIL 22 OCTOBER

Sadie Coles HQ 62 Kingly Street, W1B 5QN • Alvaro Barrington: They Got Time - Grandma’s Land UNTIL 21 OCTOBER

Sadie Coles, Bury Street 8 Bury St, SW1Y 6AB • Urs Fischer: Flea Circus UNTIL 18 NOVEMBER

Sadie Coles, Davies Street 1 Davies Street, W1K 3DB • Martine Syms: Present Goo UNTIL 4 NOVEMBER

Sarah Myerscough Gallery 34 North Row, London W1K 6DH • Silver Jubilee: Collections UNTIL 21 OCTOBER

Skarstedt 8 Bennet Street, SW1A 1RP • Cristina BanBan: La Matrona UNTIL 25 NOVEMBER

Somers Gallery 96 Chalton Street, NW1 1HJ • Six Artist Group Show curated by Sacha Craddock: Full House UNTIL 14 OCTOBER

Sprüth Magers 7 Grafton Street, W1S 4EJ

Stephen Friedman 5-6 Cork Street, London W1S 3NY • Yinka Shonibare: Free The Wind, The Spirit, and The Sun UNTIL 11 NOVEMBER

Thaddaeus Ropac 37 Dover Street, W1S 4NJ • Daniel Richter: Stupor UNTIL 1 DECEMBER

Thomas Dane 11 Duke St, SW1Y 6BN • Xie Nanxing: Hello, Portrait! UNTIL 16 DECEMBER 3 Duke St, SW1Y 6BN • Igshaan Adams: Primêre Wentelbaan UNTIL 16 DECEMBER

Timothy Taylor 15 Bolton Street, W1J 8BG • Eddie Martinez: Enough 12 OCTOBER-18 NOVEMBER

Unit London 3 Hanover Square, W1S 1HD • Dreamscape Estuary UNTIL 4 NOVEMBER • Jason Boyd Kinsella: Anatomy of the Radiant Mind UNTIL 4 NOVEMBER

• Yves Dana: Un autre regard sur la sculpture UNTIL26 NOVEMBER

Nicoletti Contemporary 12a Vyner Street, E2 9DG • Josèfa Ntjam: Limestone Memories— un maquis sous les étoiles UNTIL 4 NOVEMBER

White Cube, Mason’s Yard

PUBLIC Gallery

26 Masons Yard, SW1Y 6BU • Marina Rheingantz UNTIL 11 NOVEMBER

Workplace

91 Middlesex Street, E1 7DA • Group Show: The last train after the last train UNTIL 28 OCTOBER

50 Mortimer Street, W1W 7RP • Simeon Barclay: At Home, Everywhere and Nowhere UNTIL 11 NOVEMBER

56 Artillery Lane, E1 7LS • Lutz Bacher: AYE! UNTIL 17 DECEMBER

○ Galleries: East Carlos/Ishikawa 88 Mile End Road, E1 4UN • Josiane M.H. Pozi: Through my fault UNTIL 28 OCTOBER

Daniel Benjamin

Raven Row

Rocket 4 Sheep Lane, E8 4QS • Martin Parr: Sports and Spectatorship UNTIL 29 FEBRUARY 2024

Seventeen

Friday 13 October

Saturday 14 October

276 Kingsland Road, E8 4DG • Andy Holden: Song of Songs UNTIL 21 OCTOBER

3pm Maggi Hambling, Sarah Lucas and Louisa Buck in conversation Maggi Hambling speaks with fellow artist and friend Sarah Lucas, moderated by Louisa Buck, The Art Newspaper’s contemporary art correspondent.

3pm Mandy El-Sayegh, Flavia Frigeri and Valerie Cassel Oliver in conversation London-based artist Mandy ElSayegh talks to the National Portrait Gallery’s ‘Chanel Curator for the Collection’ Flavia Frigeri and Valerie Cassel Oliver of the Virginia Museum of Fine Arts in the US.

Tabula Rasa Gallery

Doyle Wham

The Approach

91A Rivington Street, EC2A 3AY • Angèle Etoundi Essamba: Africanesse UNTIL 18 NOVEMBER

47 Approach Road, E2 9LY • John Maclean: New Paintings UNTIL 28 OCTOBER

Ed Cross Fine Art

Union Pacific

No 20 Arts

19 Garrett Street, EC1Y 0TW • Abe Odedina: I’m a Believer UNTIL 11 NOVEMBER

17 Goulston Street, E1 7TP • Kevin Brisco Jr: But I Hear There Are New Suns UNTIL 18 NOVEMBER

20 Cross Street, N1 2BG • Kimberley Burrows, Euan Evans, Elena Njoabuzia Onwochei-Garcia & Heiyi Tam: ADDENDUM UNTIL 15 OCTOBER

8 Masons Yard, SW1 6BU • Leonhard Hurzlmeier: Kissing Shores UNTIL 27 OCTOBER

1 Holywell Lane, EC2A 3ET • Nikita Gale: BLUR BALLAD UNTIL 9 DECEMBER

Waddington Custot

82 Kingsland Road, E2 8DP • MATTER UNTIL 4 NOVEMBER

Flowers, Kingsland Rd

Victoria Miro 16 Wharf Road, N1 7RW • Paula Rego: Letting Loose UNTIL 11 NOVEMBER • Ali Banisadr: The Changing Past UNTIL 11 NOVEMBER

Gagosian Open 4 Princelet Street, E1 6QH • Christo: Early Works UNTIL 22 OCTOBER

○ Galleries:

Guts Gallery

North

10 Andre Street, E8 2AA • Shadi Al-Atallah: Fistfight UNTIL 25 OCTOBER

Art Space Gallery

Hales 7 Bethnal Green Road, E1 6LA • Anthony Cudahy: Double Spar UNTIL 11 NOVEMBER

Herald St 2 Herald St, E2 6JT • Pablo Bronstein: Cakehole UNTIL 18 NOVEMBER

Kate MacGarry 27 Old Nichol Street, E2 7HR

84 St Peter’s Street, N1 8JS • Jeffery Camp: A Visionary UNTIL 20 OCTOBER

Bobinska Brownlee New River 38 Tower Court, London N1 2US • Sarah-Joy Ford: HARE UNTIL 28 OCTOBER

Cob Gallery 205 Royal College St, NW1 0SG • Tomo Campbell: Spitting Feathers UNTIL 14 OCTOBER

Women in Art Fair

Regent’s Park, NW1 4LL UNTIL 15 OCTOBER

Mall Galleries, The Mall, SW1 UNTIL 14 OCTOBER

Frieze Masters

Start Art Fair

Regent’s Park, NW1 4HA UNTIL 15 OCTOBER

Saatchi Gallery, King’s Road, SW3 4RY UNTIL 15 OCTOBER

1-54 Contemporary African Art Fair

The Other Art Fair

Somerset House, Strand, WC2R 1LA UNTIL 15 OCTOBER

Truman Brewery, 85 Brick Lane, E1 6QL UNTIL 15 OCTOBER

354 Upper Street, N1 0PD • Janpeter Muilwijk: One Foot in Heaven UNTIL 28 OCTOBER

○ Galleries: South Cabinet 132 Tyers Street, SE11 5HS • Primitive Tales: Atiéna R. Kilfa UNTIL 11 NOVEMBER

Cecilia Brunson Projects 3G Royal Oak Yard, SE1 3GD • Claudia Alarcón & Silät: Nitsäyphä: Wichí Stories UNTIL 3 NOVEMBER Janet Sobel: 1940s, at the Heart of the New Vanguard UNTIL 3 NOVEMBER

Cooke Latham Gallery 41 Parkgate Road, SW11 4NP • Francisco Rodriguez: The Weight of the Night UNTIL 2 NOVEMBER

Corvi-Mora 1A Kempsford Road, SE11 4NU • Anika Roach: Limbo Along Brass Tacks UNTIL 11 NOVEMBER

Kristin Hjellegjerde 2 Melior Place, SE1 3SZ • Charlie Stein: Virtually Yours UNTIL 25 NOVEMBER • Ken Nwadiogbu: Fragments of Reality UNTIL 25 NOVEMBER

Nicole Eisenman’s Fishing (2000), one of the paintings in the artist’s show at the Whitechapel Gallery, which also includes sculpture and animation

• Nina Davies: Precursing UNTIL 5 NOVEMBER

Sid Motion Gallery 24a Penarth Centre, SE15 1TR • Remi Ajani: It’s not what you look at... It’s what you see UNTIL 21 OCTOBER

Sundy 63 Black Prince Road, SE11 5QH • Daphne Ahlers: Hum UNTIL 28 OCTOBER

The Sunday Painter

6 Copperfield Street, SE1 0EP • Narges Mohammadi & Laila Tara H: Hastan UNTIL 10 NOVEMBER

PAD Design + Art Berkeley Square, W1J 6EN UNTIL 15 OCTOBER

James Freeman

Copperfield

Frieze Masters, which includes works from antiquity to the later 20th century, this year features 130 participating galleries

Frieze London

The talks are taking place in dunhill’s design-led space at Frieze Masters

99 East Road, N1 6AQ • Tant Yunshu Zhong: When Does a Wanderer Seek Rest at Night UNTIL 17 NOVEMBER

Vigo

Fairs

The Art Newspaper’s Louisa Buck is in conversation today with leading British artists Maggi Hambling and Sarah Lucas

68 Compton Street, EC1V 0BN • Melania Toma: As soon as the Sun Sets UNTIL 1 NOVEMBER

Emalin

11 Cork Street, W1S 3LT

64 Three Colts Lane, E2 6GP • Yuko Mohri: Sweet to Tongue and Sound to Eye UNTIL 2 DECEMBER

119 South Lambeth Road, SW8 1XA • Ernesto Burgos: When a bird lands on the ground it invariably stops singing UNTIL 28 OCTOBER

Turps Gallery Taplow House, Thurlow Street, SE17 2UQ • Cherry Pickles: I Killed a Hitchhiker Back in 86 UNTIL 12 NOVEMBER

White Cube 144-152 Bermondsey Street, SE1 3TQ • Julie Mehretu UNTIL 5 NOVEMBER

○ Galleries: West Cromwell Place 4 Cromwell Place, SW7 2JE • Displays from International Galleries VARIOUS DATES

Flow Gallery 1-5 Needham Road, W11 2RP • Oliver Cook UNTIL 4 NOVEMBER

Frestonian Gallery 2 Olaf Street, W11 4BE • Tim Braden: La Coloriste UNTIL 4 NOVEMBER

HackelBury 4 Launceston Place, W8 5RL • Medium & Memory UNTIL 21 NOVEMBER

Queercircle

Roman Road

Soames Walk, SE10 0BN • Rafal Zajko: Clocking Off UNTIL 26 NOVEMBER

50 Golborne Road, W10 5PR • Antonia Nannt, Murat Önen, Victoria Pidust and Lola Stong-Brett: Canon of Beauty UNTIL 11 NOVEMBER

Matt’s Gallery 6 Charles Clowes Walk, SW11 7AN

GUSTON: © THE ESTATE OF PHILIP GUSTON. BUCK: © DAVID OWEN. FRIEZE MASTERS: PHOTO: MICHAEL ADAIR; COURTESY OF FRIEZE AND MICHAEL ADAIR. EISENMAN: PHOTO: BRYAN CONLEY, COURTESY OF CARNEGIE MUSEUM OF ART

PM/AM 37 Eastcastle Street, W1W 8DR • Raelis Vasquez UNTIL 31 OCTOBER

Frieze Masters Talks in collaboration with dunhill

Contemporary African Art Fair London 12–15 October 2023 Somerset House 1-54.com

29

THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

NEWS Art market Blurred lines: are galleries and museums getting too cosy? Nonetheless, he thinks there is a need for greater clarity around the terms of sponsorship deals, particularly if the sponsor has a close connection with the content of a show. “There’s a risk of a scandal if a museum includes a particular work because it is pressured to do so by the owner who is trying to sell it,” Davies says. “When there are dealers who are quite heavily involved, who is deciding which works are being shown? Putting something in a museum adds status to that particular work and so it seems museums need very clear procedures for justifying the inclusion of each individual work.” At the Royal Academy of Arts (RA), Marina Abramović’s retrospective has been organised in close collaboration with the artist—many of the works are on loan from her studio, some in conjunction with her two main galleries, Lisson Gallery and Sean Kelly. Lisson has been “quite involved” in the RA show and in organising its onward European and Israeli tour, according to Claus Robenhagen, a director at Lisson. But, he says, “the idea to show Marina was completely the RA’s”. Nonetheless, he concedes that, as a gallery, “we work very hard to make sure that Marina gets the place in art history that she deserves”. Naturally, there is a commercial upside. Robenhagen notes how the

Guston at Frieze, and Tate Over at Frieze Masters, Hauser & Wirth is capitalising on the Guston retrospective at Tate Modern, showing four works by the late US artist. They include the figurative canvas, Calm Sea (1977), the sister work to a painting on show at Tate Modern titled Black Sea (also 1977). Pieces on the stand start at around $200,000 for works on paper. Two sold on the opening day: one at $200,000 and another, of a hooded Ku Klux Klan figure, at $600,000. The gallery’s display, ranging from 1951 to the late 1970s, reflects the breadth of the Tate exhibition. “We wanted to give a broad sense of what Guston has done, but in the fair. We’re not trying

Lia Rumma gallery is showing Marina Abramovic’s Rhythm 4 (1974-2010), coinciding with the artist’s show at the Royal Academy to compete with [the museum], but then there are works available on the market,” says Neil Wenman, the global creative director of Hauser & Wirth, which has represented Guston’s estate for a decade. He notes that the gallery has been “inundated with enquiries”— the Tate show has been “very beneficial for that”, he adds. As for doing deals on the museum floor, Wenman says: “We would never discuss a work being available or not available while it’s in a museum show. It’s not really appropriate. The vow is to have those conversations on the booth.” Galleries still seem to draw the line at selling straight from museums’ walls, but their relationships with institutions are becoming ever more fluid. It is perhaps high time, then, for a franker discussion about the realities of a substantially privatised public sector.

NOTABLE SALES What went on day two • Damien Hirst, The Secret Garden Paintings (2023), priced from $450,000 to $1m, sold at Gagosian. All found 12 of Hirst’s new series of paintings found buyers on the preview day of the fair. “We thought, who better to celebrate 20 years of Frieze Art Fair than the artist who best defines London’s rise as an art centre?” said Gagosian director Millicent Wilner • Philip Guston, Untitled (1968), sold for $600,000 at All of Damien Hirst’s The Hauser & Wirth’s stand at Frieze Masters. The artist’s Ku Secret Garden Paintings Klux Klan imagery has been so misunderstood, it caused the were snapped up on postponement of his retrospective now on at Tate Modern. preview day Despite this, it is one of the strongest areas of his market. • Matthias Groebel, L0697 (1997), sold for €16,000 at Drei gallery. These paintings, sourced from programming on the post-1984 German airwaves, composed on an early IBM computer and printed with a machine built from scrap parts, confirm Groebel as an overlooked pioneer of cyberpunk art.

A podcast by The Art Newspaper

A brush with… YINKA SHONIBARE // CLAUDETTE JOHNSON SARAH LUCAS // TORKWASE DYSON Yinka Shonibare CBE RA, 2023, Photo (detail) by Tom Jamieson. Courtesy Yinka Shonibare CBE and Stephen Friedman Gallery, London; Claudette Johnson, Photo (detail) © Anne Tetzlaff; Sarah Lucas: Portrait of Sarah Lucas (detail) (Framlington, Suffolk, 2023) © Sarah Lucas. Courtesy Sadie Coles HQ, London. Photo: Katie Morrison; Torkwase Dyson: Photo (detail) by Weston Wells

HIRST: COURTESY OF GAGOSIAN.

 CONTINUED FROM PAGE 1

gallery has seen a spike in interest in Abramović’s work since her retrospective opened. “A lot of London collectors have contacted us about the work in the RA,” he says. At Frieze, meanwhile, galleries are mirroring institutional shows, albeit on much smaller scales. Milan’s Lia Rumma, which has lent four works to the Abramović show, has two photographs by the Belgrade-born artist on its stand. An edition of Rhythm 4 (19742010, priced at €200,000, edition of 3), is on show at the RA. Elsewhere, Vienna’s Galerie Krinzinger is showing photographs by Abramović ranging in price from €35,000 to €150,000. They include a recent body of work, from 2021. The gallery’s founder, Ursula Krinzinger, says that the RA leg of the Abramović show was planned too far ahead to feature these works but she expects they will be included in future iterations when the exhibition travels.

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THE ART NEWSPAPER FRIEZE FAIR EDITION 13 OCTOBER 2023

DIARY

Andy gets a taste of the art racket London’s art fairs are packed to the rafters this week, drawing collectors, curators and the odd sporting superstar. We don’t meet a Wimbledon champion very often (ie, never), so bumping into Andy Murray at Frieze London was just ace (pardon the pun). Meanwhile, over at the 1-54 Contemporary African Art Fair at Somerset House, movie star Gerard Butler, the face of top-notch films such as Olympus Has Fallen, could be seen perusing the stands in the search of the next African art star. So who’ll turn up next? We hear Madonna is in town…

Frieze Week Rivers of Babylon beckon at end-of-fair bash As Frieze art week draws to a close (boo hoo), we’re all looking forward to the last-day-of-term parties. But one bash in particular is getting us excited— Boney M at Kristin Hjellegjerde Gallery near London Bridge. The special concert by the group behind disco classics such Art lovers of a certain age will not want to miss as Brown Girl in the a live performance of 70s German superstars Ring and Rasputin Boney M at Kristin Hjellegjerde Gallery marks the closure of the gallery’s Glasshouse space and launch of another venue on Tanner Street. Hjellegjerde tells us that she met Boney M group members on a flight from Denmark to London. “I was on my way back from a detox and I saw these three women. I asked, ‘who are you?’, and they said, ‘we’re Boney M’. So I asked them to come and perform.” Get those 1970s flares on and groove on down.

The Art Newspaper is the only game in town, as Andy Murray might say

Nick Serota’s early brush with Paul Rego You’d assume that the Nick in the title of Nick’s Favourite, the vivid 1983 work on paper by Paula Rego on show at Victoria Miro’s stand, would refer to Rego’s son, the film director and producer Nick Willing. After all, Willing is a devoted champion of his late mother and his 2017 film Secrets and Stories is widely regarded as offering a unique insight into her life and work. But you’d be wrong. The Nick in the work—which depicts a dog-like creature with lolling tongue, accompanied by flouncy-skirted female and a strange plant-creature—is in fact Nicholas Serota, former Tate director and now chair of Arts Council England who, when he was a youthful director of the Whitechapel Gallery, visited Rego in her studio in 1983 and identified the work as his favourite. Pity he didn’t buy it: the price tag would have been The mystery behind the Nick in Paula considerably less than Rego’s equally mysterious 1983 work its current £450,000. Nick’s Favourite has been solved

Pass the smelling salts…

Keep it in the family

Members of two of the art world’s most famous London’s sexual geography is getting an artistic families came together at yesterday’s Frieze airing this week with Adam Farah-Saad’s stainless Collector’s Conversations. Don and Mera Rubell steel fountain, at Public Gallery’s stand, a were the spectators at the gathering, with replica of the washbasin in the men’s their son Jason discussing legacy and toilets at popular London cruising collecting today. He was joined by spot Wood Green Mall. Tate has two other early Frieze champions, acquired the work along with the Catherine Petitgas and Patrizia artist’s accompanying wind chime Sandretto Re Rebaudengo, whose sculpture, featuring bottles of son Eugenio was in the audience. amyl nitrate (all empty, before Jason revealed how Patrizia had you ask). Meanwhile, Gasworks asked him for advice on how to Gallery in Vauxhall, is showing kindle a teenage Eugenio’s interest Trevor Yeung’s scale recreation of the in art. Evidently, he provided wise infamous “fuck tree” on Hampstead Heath. Yeung has cast the low-lying Adam Farah-Saad’s replica counsel: in 2008 Eugenio became trunk of the notorious oak in washbasin might trigger a director of his family’s foundation specially made soap with an “earthy happy memories in some and in 2013 he launched Artuner, his contemporary art platform. moist scent”. fairgoers

The Undercover Gallerist Anonymous reports from behind the scenes at the fair Nothing changes the mood of a fair like a hangover after the first day of action, although at this point, we (the school of seasoned art dealers) are all in reality on day four of laboured drinking and manufactured conversation. I’m wildly hungover, but made it on time, suited and booted, to try and sell some more art. Due to my ongoing headache today, I asked some trusted friends to share with me some scandalous gossip from the fair. Much of it was actually libellous—and I’m remembering in my first column that this is the only thing The Art Newspaper team told me to avoid—but some information isn’t too scandalous for print. One was a classic story of a gallery director having to walk the very long way to their booth to avoid any eye contact with a dalliance from the night before, and the other was a more alarming account of an emerging British artist (unsure if he is showing at the fair) being forcibly removed from a party by the hotel security. Lists are tight this year, friends! Conversations in the tent suggest that the usual weekend slowdown might be alleviated by an influx of actual collectors coming to London over the weekend before Paris, rather than the usual parents looking for something for their kids to do in rainy October. However, I think we should be honest with ourselves here: if you haven’t sold the figurative painting on your booth yet, you probably are not going to.

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PHOTOS: JULIETTE OTTLEY, LOUISA BUCK AND COURTESY KRISTIN HJELLEGJERDE GALLERY

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