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THE ART NEWSPAPER|FRIEZE ART FAIR|14 OCTOBER 2022

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Weak pound boosts British artists’ sales during Frieze A confluence of factors has given the UK art market a lift—but will it last?

YINKA SHONIBARE: DAVID OWENS. 1-54: RICHARD THOMPSON. QUEUE: LEE CHESHIRE

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trong sales for UK-based artists Basel fair next week. This was ostensibly in the first two days of Frieze quelled by long queues to enter during London and Frieze Masters the VIP opening on Wednesday— ironare being attributed, at least ically deterring some serious collectors in part, to a weakened pound in the first hours, says Elisabeth Sann, sterling attracting collectors spending the director at Jack Shainman in New in comparatively strengthened York: “Frieze cast their invitation dollars. Xavier Hufkens wide, possibly because they sold a painting by Tracey anticipated a dearth of Emin “in the range of people. As a result, in £950,000”, along with the early hours of day four of her neon one we had many works for around casual visitors who £ 6 0,0 0 0 e a c h . typically are found Goodman Gallery in later days of the placed a Yinka fair.” She adds that a Shonibare painttypical number of the ing for £135,000 and gallery’s regular colTiwani Contemporary lectors, most of whom reported a sell-out stand are based in the US, came on the first day, including to the stand, and that three Joy Labinjo paintmore day-two sales were Yinka Shonibare’s Fabric ings for £50,000 each, expected than in previous Bronze (Red, Yellow, Blue) thanks to “corporate and (2022) at Goodman Gallery editions of Frieze London. individual collectors from the UK and US”. Crowd control At Frieze Masters, the London dealer Galleries reported a number of seven-figJohnny Van Haeften says he is “over the ure sales on the second day of the fair, moon” that the pound is pricing much including Waddington Custot selling a of his stock so competitively for foreign Serge Poliakoff painting for £1.5m to an buyers. “Old Masters work differently to existing European client. Two dealers contemporary; often we can barely move were overheard in a queue for coffee, the stuff,” he says. And move it he did, complaining of crowds. “It’s the most selling a $10m Jan Brueghel the Elder packed Frieze London I’ve ever been painting on his stand to a new client to,” one said. “But better than last year, from outside the UK on the first day. which was a funeral,” replied the other. Chatter about galleries switching Nonetheless, this year’s Frieze “feels currencies from sterling to dollar to local” compared to pre-pandemic edimitigate steep exchange rates is largely tions, according to some, including the unfounded, with artists based in the UK London-based adviser Lawrence Van mostly being priced in pounds, as is the Hagen. “There weren’t the big groups of industry standard. Nonetheless, excepsuper-wealthy Americans or Asians this tions can be found: a 2022 triptych by year, as in previous years,” he says. Highthe London-based British painter Lynette profile Americans in attendance include Yiadom-Boakye at Corvi-Mora’s stand Pamela Kramlich and Laurie Tisch. Van was sold in the first hours of the fair Hagen adds that most of the works on for a price “in the region of $600,000 to sale at Frieze that his clients wanted are $700,000”, a gallery spokesperson says. priced in dollars, and that by halfway There was widespread apprehension through the fair’s second day they were that many serious and casual collectors all still available. alike would skip this year’s Frieze in favour of the inaugural Paris + par Art CONTINUED ON PAGE 21 

THE ART N EWS PA PE R . C O M

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D OW N L OA D THE A P P

Somerset House sets sail on a solemn voyage The 1-54 Contemporary African Art Fair is marking its tenth anniversary on a powerfully sombre note with the first-time UK showing of the Portuguese artist Grada Kilomba’s striking 32m-long installation that occupies the main courtyard of Somerset House. O Barco/The Boat (2021) consists of 140 charred wooden blocks configured in the outline of the hold of a historical

European slave ship. Each tomb-like rectangle has been individually charred, and several are inscribed with poems translated into African languages, including Yoruba, Kimbundu and Creole as well as English, Portuguese and Arabic. This grim reminder of European expansion and colonisation is rendered all the more potent given the history of Somerset House as the former

VIPeeved: sore collectors gripe about Frieze queue BY MOST ACCOUNTS, IT WAS THE BUSIEST OPENING FOR FRIEZE LONDON in recent memory. By 11.30am on Wednesday, an enormous queue had formed, snaking out of the tent and through Regent’s Park—much to the chagrin of some VIPs who complained that the hourslong wait, and scrum once inside, had put them off buying any art.  While the former chancellor Rishi Sunak had no option but to wait in line, a lucky few were squirrelled in via the Deutsche Bank entrance. Others simply left. The Belgian collector Alain Servais took to Twitter to complain about the “insane crowd of socialites” mixed in with the VIPs. “An art fair is supposed to provide its gallerists [sic] clients with VIPs in the right mood to transact in

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@ THEA RTN EW S PA P E R

home of Britain’s Navy Board. This week, the work is being animated by two hourlong performances (one last night and one at 1pm today). These live works are designed and directed by the artist, with a multigenerational ensemble of collaborators of African descent using dance, song and poetry to revive these forgotten histories. Louisa Buck

the first few hours,” he wrote. “Frieze showed where it is standing.” Carrie Scott, the British American curator and art adviser, chimed in: “So completely agree with you. There was nothing about the experience […] that fostered meaningful discussion about the work on the stands. Too many people there […] who were time wasters, not serious buyers.” A spokeswoman for Frieze says the fair had not scrapped tiered VIP entry; rather, it was back to the pre-pandemic system of timed entry points at 11am, 2pm and 5pm. Some speculated that organisers had over-egged the number of attendees to boost appearances. However, visitor figures will not be released until the fair is over on Sunday, so it remains to be seen whether this was a bumper year for attendance. Anny Shaw The line of visitors waiting to enter Frieze London’s preview stretched all the way down a path in Regent’s Park

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

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NEWS Art market

Surging demand for African art brings new galleries to 1-54

News in brief

As auction sales soar, 14 galleries are showing at this year’s contemporary fair in London for the first time Anthea Hamilton (second left) made a star out of the Thomas Dane stand

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n its tenth anniversary edition in London, 1-54 Contemporary African Art Fair is awash with first-time exhibitors keen to tap into the growing demand for African art from Western collectors. Of the 50 participating galleries showing at Somerset House, 14 are newcomers to the fair—just 15 exhibitors in total took part in the inaugural edition in 2013.  “This is our first art fair,” says Lovisa Berntson of Berntson Bhattacharjee Gallery, which is opening a new permanent space in Notting Hill, west London, next February. “1-54 is a great way to meet new clients. “Our mission is to show the scale of what Sola Olulode can do,” she adds, referring to the solo show of works on the stand by the London-based, British Nigerian artist. A series of canvases by Olulode depicting Black queer experiences, priced between £800 and £2,800, had almost sold out on the VIP preview day. Another gallery based in the capital, Unit London, is also making its debut on the fair circuit, showing works by the Zimbabwean artist

Jonny Burt, Unit London Option Dzikamai Nyahunzvi and Sthenjwa Luthuli of South Africa. “The success of other artists has opened the floodgates for the African contemporary market,” says Jonny Burt, Unit London’s co-founder. “But we want to support our artists in other ways; we recently funded a major new studio space for Luthuli, for instance.” Luthuli’s four works, painted on hand-carved wood and priced at £33,000 each, all

Artists often make the best curators and this has certainly proved the case for Thomas Dane, whose decision to let Anthea Hamilton take over its Frieze London stand has just landed the gallery the £5,000 award for the fair’s best booth—much to the glee of the gallery team and artist. Hamilton’s exuberant, selfdescribed “mash-up” of furniture, décor and art conspicuously includes two of her showstopping giant orange pumpkin sculptures slouching on a blue, black and white tartan carpet. Surrounding them are creatively installed works by various artists on the gallery’s roster, including Lynda Benglis, Hurvin Anderson, Alexandre da Cunha and Amy Sillman. Hamilton has also introduced several women artists who are not represented by the gallery, who will feature in the Tate show, Women in Revolt!, which opens in November 2023. Louisa Buck

The 1-54 Contemporary Art Fair, which is taking place this week at London’s Somerset House, has seen its roster of exhibitors grow from 15 in 2013 to 50 in 2022. In 2021, auction sales of African contemporary art were up 44% on the previous year sold. “There’s a huge waiting list,” adds Burt.

Auction sales increase A recent edition of ArtTactic’s Modern & Contemporary African Artist Market Report, which explores auction sales trends between 2016 and 2021, highlights a surging sector. Auction sales increased by 44% in 2021, from $50m in 2020 to $72m last year; contemporary art galleries are subsequently looking to the burgeoning African market. Los Angeles and New York-based Albertz Benda gallery is also making

its 1-54 debut this week, with a series of works by the Mali-born artist Famakan Magassa. “We were looking for the right context to show the works internationally. 1-54 provided the perfect opportunity and we’re learning by doing,” says Thorsten Albertz, the gallery’s co-founder. Magassa’s works are priced between £3,500 and £10,000. “We’ve made two major deals,” adds the gallerist. Crucially, galleries based on the African continent have headed to London in a bid to boost exposure. The Dakar-based Selebe Yoon gallery has

Tracey Emin on a tear, from Christie’s to Frieze ONE OF THE FIRST PAINTINGS TRACEY EMIN CREATED AFTER HER GRUELLING CANCER TREATMENT, Like A Cloud of Blood (2022), flew four times over its low estimate at Christie’s yesterday, selling for £1.9m (£2.3m with fees).  Consigned by the artist, proceeds from the sale are going towards TKE Studios in Margate (the “K” stands for Karima, Emin’s middle name), an art school and artists’ centre she is launching later this month in the Kent coastal town where she grew up.  Of the result, which fell just shy of her auction record of £2.5m, made with My Bed (1998) in 2014, Emin tells The Art Newspaper: “It’s amazing. It’s going to make a massive difference. The support for what I’m doing in Margate is phenomenal.” Emin has already spent £2m buying and refurbishing the former Edwardian bathhouse and mortuary that now house 12 studios, which will be subsidised. There will also be an

dedicated its stand to the Senegalese artist Arébénor Basséne, who is showing a large-scale painting called The Night Fighters (2022), priced at £16,000. “I like Somerset House and the international programme at 1-54 London,” says the director, Jennifer Houdrouge, who adds that the gallery in Dakar also doubles as a residency space. “It is important that we support creation, not just diffusion; the market is not the main focus.” Gareth Harris • 1-54 Contemporary African Art Fair, Somerset House, Strand, until 16 October

exhibition programme and two-year residencies for 15 to 20 students with free studios, tutorials and lectures.  “I don’t want to die being an artist that made really interesting work. I want to make a future,” she says. “If my art can make something happen for the future, then I’m doing the right thing. I’ve been all the way around the world in all directions and come back again. And this, Margate, is what I’ve chosen.” Collectors at Frieze London are also investing in Emin. At White Cube, seven works on paper priced at £50,000 each sold during the VIP opening. At Xavier Hufkens, meanwhile, a large-scale painting sold in the region of £950,000, while three works on paper went for between £20,000 and £45,000 and four neons sold for around £60,000 each. As one dealer succinctly put it: “The cult of Tracey Emin is now official.”  Anny Shaw Tracey Emin’s Like a Cloud of Blood (2022) sold at Christie’s for £1.9m (£2.3m with fees). Proceeds from the sale will go towards her new art centre in Margate

CHRISTIE’S AUCTION SUPPORTS EMERGING ARTISTS IN TURKEY Turkish artists including Taner Ceylan and Rasim Aksan have created new works that will be sold at a London auction to benefit emerging artists in Turkey. The Istanbul Foundation for Culture and Arts (IKSV) has teamed up with Christie’s, offering 23 pieces consigned to two sales: the post-war and contemporary art day sale (today at 1pm) and the onlineonly First Open sale of post-war and contemporary art (until 18 October). On its 50th anniversary, IKSV initiated a Young Artists Fund to “support the production of ambitious projects by artists across disciplines in Turkey”, says a statement; all of the sale proceeds will go towards the fund. Ceylan’s work on paper, Portrait of Şeker Ahmet Pasha (2022), has an estimate of £10,000 to £15,000. G.H.

NO SIGN OF STOLEN FRIEZE SCULPTURE A work on display in Frieze Sculpture in Regent’s Park was “apparently stolen”, say the artists behind the piece. The series, 10 signs for a park (2022), by John Wood and Paul Harrison is now down to nine signs after the piece stating “You Are Reading These Words” was removed from the park. “It was bolted on [the pole],” the artists say. “On the one hand, we thought it was quite funny or a kind of compliment; on the other hand, we would have preferred if they had nicked it on the last day.” G.H.

1-54: JIM WINSLET. TRACEY EMIN: COURTESY OF CHRISTIE’S. THOMAS DANE GALLERY: LOUISA BUCK

“The success of other artists has opened the floodgates”

THOMAS DANE IS RANKED BEST IN CLASS

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

Shane’s art career is in the (sick) bag

DIARY Frieze Week

Artist dishes up way too soft a scoop

Any gathering involving the legendarily hard-living Pogues frontman Shane MacGowan was never going to be a sober affair, and the opening of his solo show of drawings at Andipa Gallery on Wednesday night was no exception. Kate Moss, Bob Geldof, the designer Pam Hogg and Primal Scream’s Bobby Gillespie all gathered to toast in copious quantities the outpouring of drawings that the wild-man musician has been making since childhood on every conceivable surface, from pill packets to (many) aeroplane sick bags.

Bet this customer didn’t ask NYE Inks (right) to draw a tattoo of a cartoon cat

The Frieze tent may come down this week, but fairgoers wanting the fun to live on are in luck. At Timothy Taylor gallery’s pop-up in Soho, the celebrity tattoo artist NYE Inks (of Skepta and Mahalia fame) has his very own tattoo stand, giving guests a work to take home—and never take off. The tattoo designs come by way of the artist Armen Eloyan, who is currently showing his colourful works in the space. The commitment-wary could, of course, just buy one of these—but if you opt for the ink you won’t have to worry about shipping.

Kate Moss (left) joined Shane MacGowan and his wife, Victoria Mary Clarke, at the opening of his show

Water, water anywhere? Students get a free pass Trading standards informed: Visitors to Sparrow’s ice-cream van get a shock when they bite into a load of fluff Hats off to Waddington Custot gallery which, for the third year in a row, is offering free tickets for art students keen to visit Frieze Masters (available until 16 October). “We are giving out 75 free tickets; students need to swing by the gallery to pick them up, brandishing a student card (one ticket each),” says a spokesperson for the gallery.

Fancy an ice cream? The artist Lucy Sparrow is operating a van parked near Frieze London, offering sweet treats such as 99s and Zoom lollies. But these delights may not be to everyone’s taste as the entire ice-cream truck and its contents—including the Mr Whippy machine—are all made of felt. Sparrow is selling Twister lollies (£60), oyster shells (£50) and other

recreational products such as fake cannabis (£20). But the furry ice cream van is just too lifelike for some. “I spend most of my time managing disappointment,” says Sparrow, referring to the punters who want a proper refreshment. “Someone bought a Coke for £50 yesterday, thinking it was real. They squished it, and realised it wasn’t a drink.” Anyone for a fake Freeze Pop (also £50)?

It may be tradition to toss a coin into a fountain to bring good luck, but Tomás Diaz Cedeño’s sculpture on Peana’s stand makes a sombre comment on how, in an environmentally blighted future, drinking water may be so scarce that having it in our city squares will be an act of wastefulness. Diaz Cedeño’s Frieze fountain is created from recycled packing crates and includes drowned creatures such as butterflies and snakes, cast from metal salvaged from Mexico City’s stolen and wrecked cars. But visitors are still encouraged to chuck a penny into the fountain’s murky waters as a gesture of hope that will remain as part of the piece.

NYE INKS: DAVID OWENS. ICE-CREAM VAN: PHOTO: GARETH HARRIS. SHANE MACGOWAN: PHOTO: LOUISA BUCK/THE ART NEWSPAPER

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

FEATURE Performance art

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erformance art is a medium that is intrinsically tied to the moment. But as its practitioners mature, and the art world they occupy professionalises and expands, the question of their legacy grows bigger. For some late-career performance artists— and those already deceased—this is where a market for ephemera and documentation of their work emerges as a means to sustain their practice and keep interest alive. Such is the case for Kembra Pfahler, a 61-year-old US filmmaker and performance artist who is represented exclusively by Emalin gallery in London. Pfahler was the subject of a recent exhibition held for the third edition of Performance Exchange, an annual London initiative that stages commercial exhibitions with partner galleries of performance-based artists. Key to Performance Exchange’s mission is to elucidate the practicalities of buying performance—both for private and institutional collectors. However, Pfahler’s London show involved no element of performance as the artist was unexpectedly unable to travel to London, her gallerist Leopold Thun says. This was partly because she was also staging a performance in Florence that same month; the likelihood of performers being able to stage multiple international shows decreases as they age, Thun adds.

KETTY LA ROCCA: COURTESY AMANDA WILKINSON, LONDON AND KETTY LA ROCCA ESTATE

Growing value of ephemera Luckily, then, since signing to the gallery in 2016, Pfahler has seen a sharp increase in sales of ephemera and documentation of her performances with her death-rock band, The Voluptuous Horror of Karen Black. Previously, Pfahler worked with Jeffrey Deitch gallery but was not signed to its roster. For her recent show at Emalin, the gallery exhibited a series of neverbefore-seen collages made as posters or announcements for the artist’s performances in the 1990s across New York’s underground scene, priced between $5,000 and $15,000. Photographs of the artist’s more recent performances are also for sale through the gallery and were exhibited there for a 2019 show. These bodies of work are the only material ways in which collectors can buy aspects of Pfahler’s performances, as she does not allow sales or even re-creations of her live actions. Thun says that this decision reflects an element of a “generational divide”, as Pfahler comes from an era of artists who are not accustomed to thinking about their performances as standalone works or ones that could be commercialised. But this decision, he adds, is also intrinsic to the unique nature of her performances. Of course, not all performance-based artists who came up in the latter half of the 20th century were averse to having their live work re-created. Some actively sought it out, as in the case of Ketty La Rocca, an Italian artist who made performance works from the late 1960s until 1976, when she died of brain cancer. Her estate is handled exclusively by the British dealer Amanda Wilkinson, whose eponymous gallery also took part in this year’s edition of Performance Exchange, staging a work of La Rocca’s that was never executed in her lifetime. The work (In principio erat verbum, c.1970-72), which is being sold for €15,000 in an edition of three, contains a set of instructions for participants to communicate with one another through physical gestures. La Rocca’s performance work can be purchased and re-created, but it faces another problem: there is not much

THE PRICE OF PERFORMANCE As performance-based artists age and die, the galleries that represent them face challenges in how they protect—and prolong—their legacies. By Kabir Jhala of it. Despite being prolific during her active years, her body of work is small. This is why photographs that La Rocca took of her performances have found a strong market among both private and institutional collectors such as the Museum of Contemporary Art in Los Angeles and Centre Pompidou in Paris. These photographs—sold for around €7,000 and

“Do I want to make a purely archival estate, or do I want the performances to live on beyond me?” Rose Lejeune, Performance Exchange

ARTIST RESIDENCY PROGRAMME

editioned by the artist’s estate—are not only cheaper than buying a performance or a collage work, but are also one of the few means of accessing her performances, acting as a window into “a rare and increasingly critically fêted body of work”, Wilkinson says. “La Rocca’s artistic practice was very much about a generosity of interpretation, which lends itself to re-creating performances. But not all artists are like that,” says Rose Lejeune, the founder of Performance Exchange. LeJeune, also an adviser, says this may be the biggest divide in late-career performers who are thinking about their estates. “It boils down to how one should think about the performance element of an artist in their wider work once they’ve died,” she says. “Do I want to make a purely archival estate, or do I want the performances to live beyond me?”

Above: At this year’s edition of Performance Exchange, Amanda Wilkinson gallery staged a show choreographed by Ketty La Rocca but never performed in her lifetime

This question is germane when considering Carolee Schneemann (19392019), whose Barbican show, Body Politics (until 8 January 2023), has placed the artist back into the spotlight. The exhibition presents Schneemann as a radical figure who used her body to make political statements. Central to the exhibition are a number of her most famous performance works such as Meat Joy (1964), in which eight participants covered in paint, paper and paint brushes crawled and writhed together, playing with raw fish, meat and poultry, and Interior Scroll (1975), in which she pulls a scroll of paper out of her vagina. These are documented via Super 8 films and a few photographs from the artist’s estate, which are not sold. This is, according to Wendy Olsoff of CONTINUED ON PAGE 8 

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

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FEATURES  CONTINUED FROM PAGE 7 PPOW gallery in New York—the primary dealer working with the artist’s estate– because Schneemann was determined to not be thought of as a performance artist. “Carolee wanted to be known as a painter. In her eyes everything about her practice boiled down to painting,” Olsoff says. The gallery will have three early paintings by Schneemann at its Frieze stand—dated from 1959 to 1962 and priced at $150,000 each. While Schneemann did not specify that her performance works could not be re-created, she preferred to focus on the legacy of her painting, Olsoff says: “Everyone wanted to re-create Meat Joy or Interior Scroll; I think she was tired of that.” For this reason, ephemera was rarely kept by Schneemann and what does remain, such as the paper from Interior

“There is not a single banner [by Ana Mendieta] left; they were all likely destroyed” Mary Sabbatino, Galerie Lelong Scroll, are kept by the estate and “will never be sold”. Nonetheless, there are instructions for performances that are drawn over and have “turned into art objects” that PPOW also sells, Olsoff says. But due to the gallery’s focus on Schneemann’s painting practice, they form a less significant part of her market. Similarly, the performance work

of David Wojnarowizc (1954-1992), another artist whose estate is handled by PPOW, was not well documented as “he was on death’s door when he made them”, Olsoff says, referring to his Aids infection from which he died. The exceptions to this are photographs and a voice recording made by the musician Ben Neill in 1989, which have been purchased by the Whitney Museum of American Art, the Julia Stoschek Collection and the Zabludowicz Collection.

Ambivalent performers The ambivalence towards performance held by some artists who are ironically known best as performers is exemplified by the late Cuban American artist, Ana Mendieta. According to Mary Sabbatino, the vice president of Galerie Lelong, which deals with the artist’s estate, extremely little of the ephemera and objects from Mendieta’s well-known performances exist. A series, Body Tracks (1982), saw the artist dip her arms in blood and then solemnly walk on a silk banner. “There is not a single banner left; they were all likely destroyed,” Sabbatino says. “When I spoke to Mendieta’s frequent collaborator and friend, Hans Breder, he told me: ‘We didn’t think they were important to keep.’ Could you imagine how historically important they would have been if they’d been retained?” Nonetheless, photographs of Mendieta’s Land art works, in which she would form silhouettes of human figures in the ground, are arguably the biggest part of her market. The gallery is selling a 1980 photograph from her Silueta series for $65,000 at Frieze London. Sabbatino is largely responsible for building Mendieta’s market, having begun to work with the artist’s estate shortly after her death in 1985. At that time it

Etel Adnan Frieze London Booth A06

Cristea Roberts Gallery 43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 [email protected] www.cristearoberts.com

Above: Carolee Schneemann’s 1976 performance of Up to and Including Her Limits, at Studiogalerie, Berlin. A current show at the Barbican presents Schneemann as a radical artist who turned her body into a political tool

was “nascent”, Sabbatino says, and one of her greatest projects has been digitising the sizeable body of films that Mendieta shot—around two-thirds of which contain “performance elements” and live action. Thus far, the archive is around 75% complete and has toured to a number of US museums; Sabbatino hopes to establish a market for those works in the future. Documenting performance practices retroactively, while necessary, is an onerous task. Olsoff says she hired two full-time employees just to work on archives. This is something younger performers contend with less because of an increased availability of digital technology, but also thanks to a shift in attitudes towards documenting and commercialising a performance. “Performers today have fewer qualms about

selling works by and large,” Lejeune says. “There are many factors at play here, but a big one is that it is no longer possible to live cheaply in big cities, rent large spaces for performances and live well. Those days are long gone.” But as with their predecessors, one size does not fit all performers today. For example, Paul Maheke, who last year at Performance Exchange showed a choreographed dance centring on his personal experience of sexual abuse, says he has declined several propositions to acquire or even document his performance works that he considers “impossible” to collect: “Their nature is very much tied to improvisation and the moment in which they existed,” he says. “These works live within them and nowhere else.”

CAROLEE SCHNEEMANN: PHOTO: HENRIK GAARD;CAROLEE SCHNEEMANN PAPERS, GETTY RESEARCH INSTITUTE, LOS ANGELES (950001); © CAROLEE SCHNEEMANN FOUNDATION/ARS, NEW YORK AND DACS, LONDON 2022

Performance art

THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

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IN PICTURES Frieze Masters

women Rediscovered modern

There is a feminist revolution underway at Frieze Masters, with a careful selection of 20th-century women artists occupying 26 stands in the Spotlight section. Curated by Camille Morineau, the co-founder and research director of the Paris-based Archives of Women Artists, Research and Exhibitions initiative (AWARE), and her team, the focus is on lesserknown names. “This is a strong statement as to the fundamental importance of women in 20thcentury art history, which has too often been forgotten,” her introduction reads. Here, she discusses six key presentations. Interview by Aimee Dawson Photographs by David Owens

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Leonor Fini, Portrait of Lino Invernizzi (1944-45)

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Wook-kyung Choi, Untitled (1966)

LOEVE&CO

KUKJE GALLERY

This portrait depicts a man painted in an Italian Renaissance style but he is really androgynous, dressed in sumptuous clothing that feminises him with a plume that resembles long hair. It is ambiguously erotic, which is typical of Fini’s work; she is known for challenging stereotypes. For me, it is a proto-queer work that resonates strongly with today’s perspectives on art and with queer and non-binary practices. Fini also made jewellery and there is an example here: a horn-shaped piece that you can wear as a bracelet, necklace or headpiece, held by a mannequin that she clothed similarly to how she dressed. She was a very eccentric character with an eccentric life!

Choi is a very important Korean American artist and her Abstract painting is really an intersection between two cultures. It is inspired both by the American Abstract Expressionist movement but also the Korean calligraphy that she practised. You can feel that in these very colourful paintings, especially this work from 1966, which is when she arrived in the US. You can feel that she is aware of the gestural, American way of painting, but there is also something controlled and slow about this gesture, and that comes from her calligraphy.

Nike Davies-Okundaye, Osun, The Goddess of the River (1987)

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KO GALLERY

This work depicts Osun, a goddess of the Yoruba culture, and it is made with the adire dyeing technique, using indigo pigment. Davies-Okundaye (also pictured) is the head of a group of artists in Nigeria who are reviving the adire tradition. It also speaks to female empowerment; it shows a woman reigning over the world. You can feel how strong she is; she is an animal-human hybrid. The work is visually strong but also super simple. Nigeria has a very vivid art scene, where a lot of women artists have been visible and successful.

Orshi Drozdik, Manufacturing the Self: The Pathological Body (1989/1995)

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EINSPACH FINE ART & PHOTOGRAPHY

These photographs were taken by the Hungarian artist in natural history museums, looking at the scientific objectification of the female body. It also addresses the fact that medicine was based on men’s bodies. To view this work, you look through a lens that is placed in between an installation of white objects that look like teeth, or bones, or stones. You really feel like you are observing an object scientifically. We wanted to show that Eastern Europe has a very strong art scene, where women artists have been radical, working under very repressive political regimes.

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Sonia Balassanian, Hostages series (1980)

AB-ANBAR

Balassanian is an Iranian artist, best known for her Abstract work. But we selected a political series, which started a completely new kind of work for her. The series was made after the Iranian Revolution of 1979. Balassanian has created collages using photographs of herself as a hostage alongside other photographic work from different parts of the world. But what’s interesting—and quite tragic—is how the work resonates with what is happening in Iran today. There is something dreadfully contemporary that we could not have imagined when we made the selection.

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Lucia Marcucci, Non possumus (1971)

APALAZZOGALLERY AND FRITTELLI ARTE CONTEMPORANEA

Marcucci is an early feminist artist using collages in super-interesting ways. Some of the works here relate to art history, such as those using prints that were made by covering a woman’s body in paint in an echo of Yves Klein’s work of the 1950s and 1960s. He called the works “Anthropometry” and described the naked women he used as “human paintbrushes”, so I think Marcucci is using similar prints in a mocking way. The work includes different collages of men looking directly at us and, below, part of a woman’s body with the words “Non possumus”, meaning “we cannot” in Latin. It’s a very strong political work that could easily have been made by a young woman artist today.

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

INTERVIEW Artists

Richard Mosse

Crisis in the Amazon

T Richard Mosse’s previous work includes a video installation of war zones in the Democratic Republic of Congo

he Irish-born, New York-based artist Richard Mosse makes unorthodox use of military-grade imaging technology to confront some of the most significant humanitarian crises of our time. Mosse represented Ireland at the 2013 Venice Biennale with a six-channel video installation capturing war zones in the Democratic Republic of Congo using discontinued Kodak infrared surveillance film that rendered the landscape in lurid shades of pink. In 2017, he won the Prix Pictet photography award for his disquieting panoramas of refugee camps, made with a thermal camera designed to detect body heat from 30km away and classified as a weapon under international law.

Now, Mosse has turned his attention to the climate crisis in Broken Spectre, an immersive widescreen video installation on view at 180 The Strand in London and at the National Gallery of Victoria in Melbourne, Australia. The film marks the culmination of three years spent documenting the catastrophic destruction of the Amazon rainforest. THE ART NEWSPAPER: What are you aiming to express in Broken Spectre? RICHARD MOSSE: It’s trying to represent something that’s ineffable, which is climate change. We could have chosen the Gulf Stream, or the polar ice caps melting, but whereas these crises are a result of our ancestors acting, the Amazon is distinct in that its deforestation only

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The Irish artist’s latest work, now on view in London, uses surveillance technology to track the rainforest’s relentless destruction. By Louisa Buck

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

began in earnest in the 1970s when the Brazilian military regime started to build the TransAmazonian Highway. It’s a wilful, systematic catastrophe on a sociological level: every dry season, millions of people are going out to burn the forest across nine countries. It’s a vast intergenerational problem that’s only been around for a few decades and, according to climate scientists, we only have ten years left. This is something that we have to turn around now.

How have you risen to this challenge? I’ve chosen to break it down in scale, from the macro to the micro to the human, to try and examine it from the ground up and from the sky down, but also to work on a cultural level, in terms of inter-human relations. The multispectral footage that we shot from a helicopter is intended to show not just the widespread scale

Richard Mosse’s video work, Broken Spectre (2022), includes (above) images shot from a helicopter using imaging technologies that capture the extent of environmental destruction across the Amazon. The work also documents the impact of deforestation on the communities who live across the region (below) of the [environmental] crimes we’re seeing, but also the mass organisation. There are mafia rings across the Amazon who are working for the large farmers all the way up to international economic levels. In places, I’ve tried to make a Western film; there are people on horseback herding cattle and wearing ten-gallon hats because 85% of the rainforest is being destroyed for the international trade in cheap beef and also leather for our fancy car seats. There’s also unfamiliar non-human imagery shot with UV film in the middle of the night, showing a six-inch square of the rainforest floor teeming with species, many of which we haven’t even discovered and which we now stand to lose. What we have to do is make people feel an uneasy sense of complicity, to make them feel that their own hands are dirty. And that’s particularly challenging because the Amazon is so far away from most of us.

In one powerful sequence, Adneia, a woman from the Indigenous Yanomami people, challenges you with an impassioned request for support. This direct human encounter is a departure from your previous films. Yes, I think this is my first activist artwork. A lot of people will be very moved by Adneia’s words because she’s confronting me, and thereby confronting the viewer. It’s very uncomfortable to watch. Broken Spectre premiered in Melbourne just before the Brazilian elections. What do you hope it will achieve? I don’t think one video artwork will keep Bolsonaro out and, in the case of the Amazon, I’m not particularly optimistic. But I do believe in the importance of making art that addresses what’s at stake in our world, on a politically engaged level.

There’s a whole spectrum of people who can work together: not just artists alone, but artists working alongside writers, scientists and politicians. I don’t believe in art that tells you what to think. I want the viewer to make up their own mind and to feel disorientated and slightly violated by the work. You occupy a fluid territory between photo reportage and fine art. Would you describe yourself as having a foot in each camp? I’m stuck in a no-man’s land between the two, and it’s a very lonely place. They won’t let me enter either side: I’m a sort of shadow lurking without a passport and just getting on with it. I seem to be able to somehow navigate the space between and I think that’s a space I’ve built for myself, for better or worse. • Richard Mosse: Broken Spectre, 180 The Strand, Until 18 December

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BEN BROWN FINE ARTS

PHILIPPE HALSMAN - EDWARD STEICHEN, 1959. © PHILIPPE HALSMAN COURTESY MAGNUM PHOTOS.

Awol Erizku, Teen Venus, 2013 (detail)

BROKEN SPECTRE: COURTESY OF THE ARTIST, JACK SHAINMAN GALLERY, NEW YORK AND CARLIER; GEBAUER, BERLIN/MADRID. © RICHARD MOSSE

There is conventional black-and-white footage in the new film but, as in your past work, you’ve also used advanced surveillance and photographic techniques that result in vividly coloured psychedelic images. Why are you drawn to these technologies? The points of failure of documentary photography are what interests me: where the camera fails to tell the story adequately. I’m interested in trying to find new ways of storytelling. We need to work together to help people really understand what’s at stake here with climate change. We’ve got all the data and the information, and yet it’s still not penetrating our collective brains. It’s something that’s beyond human perception, something that you can’t just put in front of the lens and get people to understand and relate to.

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

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WHAT’S ON Frieze week ○ Museums and

public galleries

Marysia Lewandowska: how to pass through a door The Cosmic House, 19 Lansdowne Walk, W11 3AH UNTIL 10 SEPTEMBER 2023

180 The Strand 180 Strand, WC2R 1EA • Universal Everything: Lifeforms UNTIL 4 DECEMBER • Richard Mosse: Broken Spectre UNTIL 4 DECEMBER

Auto Italia 44 Bonner Road, E2 9JS • Natasha Tontey: Garden Amidst the Flame UNTIL 4 DECEMBER

Barbican Silk Street, EC2Y 8DS • Carolee Schneemann: Body Politics UNTIL 23 JANUARY • Soheila Sokhanvari: Rebel Rebel UNTIL 23 FEBRUARY

British Museum Great Russell Street, WC1B 3DG • Hieroglyphs: Unlocking Ancient Egypt UNTIL 19 FEBRUARY • Art on Paper since 1960: the Hamish Parker Collection UNTIL 5 MARCH

Camden Arts Centre Arkwright Road, NW3 6DG • Forrest Bess: Out of the Blue UNTIL 23 JANUARY • Dani and Sheilah ReStack: Cuts in the Day UNTIL 23 JANUARY

Chisenhale Gallery 64 Chisenhale Road, E3 5QZ • Nikita Gale UNTIL 16 OCTOBER

The Courtauld Strand, WC2R 0RN • Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism 14 OCTOBER-23 JANUARY • Helen Saunders: Modernist Rebel 14 OCTOBER-23 JANUARY

The Design Museum 238 Kensington High Street, SW8 6AG • Surrealism and Design 1924-Today UNTIL 23 FEBRUARY

THE COSMIC HOUSE: PHOTO BY MARYSIA LEWANDOWSKA, COURTESY OF THE COSMIC HOUSE. NOTEBOOK: PHOTO: GIULIO SHEAVES, COURTESY OF THE COSMIC HOUSE

Dulwich Picture Gallery Gallery Road, Dulwich, SE21 7AD • M.K. Čiurlionis: Between Worlds UNTIL 23 MARCH

Estorick Collection 39a Canonbury Square, N1 2AN • Luigi Pericle: A Rediscovery UNTIL 18 DECEMBER

The Freud Museum 20 Maresfield Gardens, NW3 5SX • Lucian Freud: The Painter and his Family UNTIL 23 JANUARY

The Garden Museum 5 Lambeth Palace Road, SE1 7LB • Lucian Freud: Plant Portraits 14 OCTOBER-23 MARCH

Gasworks 155 Vauxhall Street, SE11 5RH • Ufuoma Essi: Is My Living in Vain UNTIL 18 DECEMBER

Goldsmiths CCA St James’, New Cross, SE14 6AD • Trevor Mathison: From Signal to Decay: Vol 1 UNTIL 16 OCTOBER • Hadi Fallahpisheh: As Free As Birds UNTIL 16 OCTOBER

The ICA The Mall, SW1Y 5AH • Christopher Kulendran Thomas: Another World UNTIL 23 JANUARY

A new sound installation by the artist Marysia Lewandowska will accompany visitors’ wanderings through The Cosmic House, the former home of Charles Jencks, the architectural historian and postmodernist provocateur. If Charles’s ideas, wit and senses of style and humour are embodied and embedded in this Grade-I listed house (now opened as a museum), Lewandowska made it her mission to revive the voice of Maggie Jencks, a formidable individual who was instrumental in the design of the house and whose name lives on through the Maggie’s cancer caring centres she founded with her husband. “I was trying to recover Maggie Keswick from being Mrs Charles Jencks,” Lewandowska says. “It was a question of how could I intervene and disrupt the existing condition to give voice to someone who is not present?” The work has been commissioned by the Jencks Foundation, a laboratory of Designed and built between 1978 and 1983, The Cosmic House was a collaboration between numerous architects and artists postmodern culture that looks after both The Cosmic House and the legacy and archive of Charles Jencks, as well as developing a programme of exhibitions, conversations, residencies, salons and publications. Lewandowska’s work, how to pass through a door, takes the form of sound pieces dispersed through the rooms in the house. One is a recording of a 1988 lecture Maggie Jencks gave on Chinese gardens (her specialist area of research). “That was also,” adds Lewandowska, “the year she was diagnosed with cancer.” This cultural and the archival, and the of fashion and is only now being been considered as part of a piece permeates the Spring Room, tensions between all of these in the thoroughly reassessed), The Cosmic symbolic and representational part of Jencks’s programme of a founding of a new public institution. House survives as a very personal programme. The work takes its house laid out by the seasons, and The work sits amid Lewandowska’s gesamtkunstwerk, pretty much exactly name from an enigmatic line in looking over the garden that Maggie practice of digging into institutional as it was lived in. “The museum this notebook. was instrumental in designing. archives to recover women’s voices speaks through its objects,” says Designed and built between 1978 The other is a voiced series of and contributions. These include Lewandowska. “Visitors read it and 1983, The entries from her project, The Women’s Audio through spaces and things, visual Cosmic House a notebook Archive, and her work at the V&A excess. There was nothing for me to in London’s Lewandowska Pavilion of Applied Arts at the add in the visual sense but there was Holland Park found Venice Biennale in 2019 (It’s About a feeling that it was uninhabited, is a built serendipitously Time), which used fictionalised that there was something missing.” manifesto of on the floor by voices to focus on the absence of The work is the result of a postmodernism her bed, when women in art history. year-long, inaugural residency at and a she was staying “By placing the voice at the The Cosmic House in which the collaborative at the Jencks’s centre of the project, the house will artist questioned the boundaries of project with former home act like a well-tempered instrument the professional, the personal, the contributions by at Portrack in accelerating its most recent the architects Scotland. “It’s transition from a former home to Terry Farrell, an incredibly Lewandowska used Maggie its current museum status,” says Michael Graves and detailed list of the Jencks’s notebooks outlining Lewandowska. “The voice can never Piers Gough (who later steps in the The Cosmic House’s design, be mistaken for another; it forever design, development development and construction designed a jacuzzi belongs to a person and beckons its in the shape of an and construction of owner into being.” inverted Roman Baroque dome) the house where she was working, Edwin Heathcote and the artists Eduardo Paolozzi, effectively, as a project manager.” • Edwin Heathcote is the keeper of Celia Scott and Allen Jones. Almost The mundane details of the meaning at The Cosmic House as well as certainly the most complete process are narrated in the context the architecture and design critic at The postmodern interior to survive in of the very particular nature of a Financial Times the UK (from an era that fast fell out house in which every moment has Marysia Lewandowska, artist

Putting Maggie Jencks’s voice at heart of The Cosmic House Marysia Lewandowska’s year-long residency drew on archive material to bring the glorious postmodern project to life through sound

“I was trying to recover Maggie Keswick from being Mrs Charles Jencks”

 CONTINUED ON PAGE 18

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

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WHAT’S ON Frieze week Jerwood Space 171 Union Street, SE1 0LN • Heather Agyepong and Joanne Coates: Jerwood/Photoworks Awards 4 UNTIL 10 DECEMBER

LUX Dartmouth Park Hill, N19 5JF • Bo Wang: The Revolution Will Not Be Air-conditioned UNTIL 15 OCTOBER

Studio Voltaire 1a Nelsons Row, SW4 7JR • Huw Lemmey and Onyeka Igwe: Ungentle UNTIL 23 JANUARY

Tate Britain Millbank, SW1P 4RG • Cornelia Parker UNTIL 16 OCTOBER

Tate Modern

47 Theobalds Road, WC1X 8SP • Hannah Catherine Jones: Owed to Chiron (The Wounded Healer) UNTIL 23 DECEMBER

Bankside, SE1 9TG • Cézanne UNTIL 23 MARCH • Maria Bartuszová UNTIL 23 APRIL • Turbine Hall: Cecilia Vicuña UNTIL 23 APRIL

The National Gallery

Van Gogh House

Trafalgar Square, WC2N 5DN • Winslow Homer: Force of Nature UNTIL 23 JANUARY • Lucian Freud: New Perspectives UNTIL 23 JANUARY

87 Hackford Road, SW9 0RE • Harold Offeh: We Came Here UNTIL 18 DECEMBER

Mimosa House

Newport Street Gallery 1 Newport Street, SE11 6AJ • Damien Hirst: The Currency UNTIL 30 OCTOBER

The Perimeter 20 Brownlow Mews, WC1N 2LE • Anj Smith: Where the Mountain Hare has Lain UNTIL 17 DECEMBER

The Photographers’ Gallery 18 Ramillies Street, W1F 7LW • Josèfa Ntjam: Underground Resistance—Living memories UNTIL 30 OCTOBER • Chris Killip UNTIL 23 FEBRUARY • A·kin: Aarati Akkapeddi UNTIL 23 FEBRUARY

Victoria & Albert Museum Cromwell Road, SW7 2RL • Hallyu! The Korean Wave UNTIL 23 JUNE • Fashioning Masculinities: The Art of Menswear UNTIL 6 NOVEMBER • Africa Fashion UNTIL 23 APRIL

Whitechapel Gallery 82 Whitechapel High Street, E1 7QX • Christen Sveaas Art Foundation UNTIL 23 JANUARY • Zadie Xa: House Gods, Animal Guides and Five Ways 2 Forgiveness UNTIL 23 JANUARY • Moving Bodies, Moving Images UNTIL 23 JANUARY • Out of the Margins: Performance in London’s institutions 1990s-2010s UNTIL 23 JANUARY

Meditative space offers a counter to consumption Anj Smith: Where the Mountain Hare has Lain The Perimeter, 20 Brownlow Mews, WC1N 2LE UNTIL 17 DECEMBER

The show features new works as well as pieces from the collection of Alexander V. Petalas, and marks the first solo presentation of Anj Smith’s work in London since 2015. The idea of the exhibition was, Smith says, a counter to “fast-paced consumption”. Consisting of a pared-back selection of eight paintings and two etchings, the show should allow viewers space to slow down and contemplate the British painter’s otherworldly images. The gallery also invited the spatial designer Robert Storey to create a meditative landscape for Smith’s intricate paintings and allow visitors a moment of total immersion into the artist’s universe. Seb Summers Sub Arachnoid Space (2022); Robert Storey’s spatial design facilitates total immersion in the show • indigo+madder Group Show UNTIL 5 NOVEMBER

Arcadia Missa

Goodman Gallery

Massimo de Carlo

35 Duke Street, W1U 1LH • Lewis Hammond UNTIL 17 DECEMBER

26 Cork Street, W1S 3ND • William Kentridge: Oh To Believe in Another World UNTIL 12 NOVEMBER

16 Clifford Street, W1S 3RG • Jean-Marie Appriou: Ophelia UNTIL 12 NOVEMBER

45 Davies Street, W1K 4LX • Jakob Lena Knebl and Ashley Hans Scheirl: Response to Duncan Grant UNTIL 23 DECEMBER

Grimm Gallery 2 Bourdon Street, W1K 3PA • Lucy Skaer: Day Division UNTIL 29 OCTOBER

15 Old Bond Street, W1S 4PR • Victor Vasarely: Einstein in the Sky with Diamonds UNTIL 16 DECEMBER

Ben Brown Fine Art

Hamiltons Gallery

Michael Werner

12 Brook’s Mews, W1K 4DG • Group Show: Ghosts of Empires II UNTIL 22 OCTOBER

13 Carlos Place, W1K 2EU • Gavin Bond: Being There UNTIL 29 OCTOBER

22 Upper Brook Street, W1K 7PZ • Andy Robert UNTIL 4 NOVEMBER

Carl Kostyal

Hauser & Wirth

Nahmad Projects

Central

12a Savile Row, W1S 3PQ • Cynthia Talmadge: Winter Break UNTL 5 NOVEMBER

2 Cork Street, W1S 3LB • Antoni Tàpies: Alchemy UNTIL 9 DECEMBER

Alice Black

Castor

23 Savile Row, W1S 2ET • Amy Sherald: The World We Make UNTIL 23 DECEMBER

12 Berkeley Street, W1J 8DT • Sonia Boyce: Just for the Record UNTIL 19 NOVEMBER • Kristy M. Chan: Binge UNTIL 12 NOVEMBER

No.9 Cork Street

Sims Reed

46 Mortimer Street, W1W 7RL • Atalanta Xanthe: Uteroverse UNTIL 16 OCTOBER

12-14 Whitfield Street, W1T 2RF • Tom Worsfold: Additives UNTIL 19 NOVEMBER

Hazlitt Holland-Hibbert

43A Duke Street, SW1Y 6DD • Paula Scher: Data Isn’t Neutral UNTIL 20 OCTOBER

63 Penfold Street, NW8 8PQ • Inas Halabi: We No Longer Prefer Mountains UNTIL 10 DECEMBER

Alison Jacques

Colnaghi

18 Berners Street, W1T 3LN • Veronica Ryan UNTIL 12 NOVEMBER

26 Bury Street, SW1Y 6AL • Barcelona-Paris, 1860-1936 UNTIL 18 NOVEMBER

9 Cork Street, W1S 3LL • Kasmin Gallery: James Nares UNTIL 22 OCTOBER • blank projects: Zoë Paul UNTIL 22 OCTOBER • Wilding Cran; Group Show UNTIL 22 OCTOBER

Somerset House Studios

Amanda Wilkinson

Cristea Roberts

Ordovas

Soho Revue

Strand, WC2R 1LA • Tai Shani, Comuzi Lab and Mani Kambo: Swimmers Limb UNTIL 20 NOVEMBER

18 Brewer Street, W1F 0SH • Ketty La Rocca: In principio erat verbum UNTIL 19 NOVEMBER

43 Pall Mall, SW1Y 5JG • Michael Craig-Martin: Past Present UNTIL 5 NOVEMBER

25 Savile Row, W1S 2ES • Lucian Freud: Horses & Freud UNTIL 16 DECEMBER

14 Greek Street, W1D 4DP • Caroline Wong: Artificial Paradises UNTIL 31 OCTOBER

Pace

Somers Gallery

South London Gallery

Annely Juda

65 Peckham Road, SE5 8UH • Simeon Barclay: In the Name of the Father UNTIL 27 NOVEMBER • Rene Matić: upon this rock UNTIL 27 NOVEMBER

23 Dering Street, W1S 1AW • Kwon Young-Woo UNTIL 29 OCTOBER • Thomas Joshua Cooper: In The Near Field UNTIL 29 OCTOBER

24 Grafton Street, W1S 4EZ • Andra Ursuţa UNTIL 29 OCTOBER

5 Hanover Sq, W1S 1HE • Sam Gilliam: Late Paintings UNTIL 12 NOVEMBER

96 Chalton Street, NW1 1HJ • Marcos Castro, Hollie Miller, Narcissister and Elliot Dodd UNTIL 26 NOVEMBER

Royal Academy of Arts Burlington House, Piccadilly, W1J 0BD • Milton Avery: American Colourist UNTIL 16 OCTOBER • William Kentridge UNTIL 11 DECEMBER

William Morris Gallery Lloyd Park, Forest Road, E17 4PP • The Legend of King Arthur: A Pre-Raphaelite Love Story 14 OCTOBER-23 JANUARY

Serpentine North West Carriage Drive, W2 2AR • Barbara Chase-Riboud: Infinite Folds UNTIL 23 JANUARY

Serpentine South Kensington Gardens, W2 3XA • Theaster Gates: Black Chapel UNTIL 16 OCTOBER • Kamala Ibrahim Ishag UNTIL 23 JANUARY

The Showroom

○ Galleries:

Belmacz

David Zwirner

Edel Assanti 46 Mortimer Street, W1W 7RL • Sylvia Snowden and Emmanuel Van der Auwera 13 OCTOBER-12 NOVEMBER

Flowers, Cork St

Auctions

21 Cork Street, W1S 3LZ • Edward Burtynsky: African Studies 14 OCTOBER-19 NOVEMBER

Friday 14 October Christie’s

Frith Street Gallery

1pm Post-War and Contemporary Art Day Sale 8 King Street, SW1Y 6QT

18 Golden Square, W1F 9JJ • Nancy Spero UNTIL 5 NOVEMBER

Gagosian, Davies St Phillips

17 Davies Street, W1K 3DF • Tyler Mitchell: Chrysalis UNTIL 12 NOVEMBER

4pm 20th Century and Contemporary Art Evening Sale 30 Berkeley Square, W1J 6EX

Gagosian, Grosvenor Hill 20 Grosvenor Hill, W1K EQD • Mark Grotjahn: Backcountry UNTIL 5 NOVEMBER

Sotheby’s 6pm The Now Evening Auction 7pm Contemporary Evening Auction 34-35 New Bond Street, W1A 2AA

Saturday 15 October Sotheby’s 1pm Contemporary Day Auction 34-35 New Bond Street, W1A 2AA

Galerie Max Hetzler Mickalene Thomas’s 2005 mixed media painting As If You Read My Mind (est £200,000£250,000 ) is on offer at Phillips during Friday’s evening sale

38 Bury Street, SW1Y 6BB • Lucian Freud: Interior Life UNTIL 16 DECEMBER

Hollybush Gardens 2 Warner Yard, EC1R 5EY • Jumana Manna: Foragers UNTIL 19 NOVEMBER

Huxley-Parlour, Maddox St 45 Maddox Street, W1S 2PE • Dora Maar: Contact Prints UNTIL 19 NOVEMBER

Josh Lilley 40-46 Riding House Street, W1W 7EX • Spencer Lewis: Odds and Sods UNTIL 18 NOVEMBER

LGDR

Mazzoleni

Phillida Reid

Sadie Coles HQ 62 Kingly Street, W1B 5QN • Georgia Gardner Gray and Darren Bader UNTIL 22 OCTOBER

Sadie Coles, Davies St 1 Davies Street, W1K 3DB • Helen Marten: Third Moment Profile | The Almost Horse UNTIL 29 OCTOBER

Simon Lee

Skarstedt 8 Bennet Street, SW1A 1RP • Georg Baselitz: Zeitgeist Paintings UNTIL 26 NOVEMBER

10-16 Grape Street, WC2H 8DY • Joanna Piotrowska and Formafantasma: Sub Rosa UNTIL 5 NOVEMBER

Sprüth Magers

Pilar Corrias

Stephen Friedman

67 Lisson Street, NW1 5DA • Garrett Bradley: Safe UNTIL 29 OCTOBER

54 Eastcastle Street, W1W 8EF 2 Savile Row, W1S 3PA • Tschabalala Self: Home Body UNTIL 17 DECEMBER

28 Old Burlington Street, W1S 3AN • Caroline Coon and Anne Rothenstein UNTIL 5 NOVEMBER

Lisson Gallery, Bell St

PM/AM

27 Bell Street, NW1 5BY • Olga de Amaral UNTIL 29 OCTOBER

37 Eastcastle Street, W1W 8DR • Group Show: Young Americans UNTIL 5 NOVEMBER

32 Dover Street, W1S 4NJ • Sturtevant: Dialectic of Distance UNTIL 29 OCTOBER

Luxembourg + Co

Richard Saltoun

2 Savile Row, W1S 3PA • Sue Fuller: Into the Composition UNTIL 9 DECEMBER

41 Dover Street, W1S 4NS • Organised Killing: A Visual History of War from 1914 to Ukraine UNTIL 26 NOVEMBER

22 Old Bond Street, W1S 4PY • Lina Iris Viktor with César, Bourgeois, Nevelson and Klein UNTIL 29 OCTOBER

Lisson Gallery, Lisson St

Lyndsey Ingram 20 Bourdon Street, W1K 3PL • Lucian Freud: The B.A.T. Etchings UNTIL 4 NOVEMBER

41 Dover Street, W1 4NS • Georg Herold, Albert Oehlen and David Salle: 1986 UNTIL 5 NOVEMBER

MAMOTH

Gathering

Marlborough

5 Warwick Street, W1B 5LU • Tai Shani UNTIL 6 DECEMBER

6 Albemarle Street, W1S 4BY • Juan Genovés: Reconsidered UNTIL 29 OCTOBER

3 Endsleigh Street, WC1H 0DS • Brittany Shepherd and Vicente Matte UNTIL 29 OCTOBER

Rodeo 12a Bourdon Street, W1K 3PG • Iris Touliatou: mothers UNTIL 19 NOVEMBER

Ronchini 22 Dering Street, W1S 1AN • Rebecca Ward: unfolding UNTIL 18 NOVEMBER

Sadie Coles: The Shop 62 Kingly Street, W1B 5QN

7 Grafton Street, W1S 4EJ • Anne Imhof: Avatar II UNTIL 23 DECEMBER

Thaddaeus Ropac

The Artist Room 76 Brewer Street, W1F 9TX • Kristy M. Chan: Binge UNTIL 12 NOVEMBER

Thomas Dane 3 and 11 Duke St, SW1Y 6BN • Bruce Conner: The White Rose UNTIL 12 NOVEMBER • Cecily Brown: Studio Pictures UNTIL 17 DECEMBER

Timothy Taylor 15 Bolton Street, W1J 8BG • Victor Willing UNTIL 5 NOVEMBER

Unit London 3 Hanover Square, W1S 1HD • In Our Code

ANJ SMITH: PHOTO: ANGELA MOORE, COURTESY OF THE PERIMETER. MICKALENE THOMAS: COURTESY PHILLIPS

 CONTINUED FROM PAGE 17

THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

Listings provided by SebsArtList.com. The most complete list of London's art openings, talks, screenings and performances

LONDON’S ART SCENE IN ONE PLACE

• Sensitive Content UNTIL 16 OCTOBER

Waddington Custot 11 Cork Street, W1S 3LT • Bernar Venet: Hypotheses UNTIL 12 NOVEMBER

White Cube 26 Masons Yard, SW1Y 6BU • Gabriel Orozco: Diario de Plantas UNTIL 12 NOVEMBER

○ Galleries: East Carlos/Ishikawa 88 Mile End Road, E1 4UN • Lloyd Corporation UNTIL 29 OCTOBER

Daniel Benjamin 68 Compton Street, EC1V 0BN • Sonya Derviz UNTIL 29 OCTOBER

Ed Cross Fine Art 19 Garrett Street, EC1Y 0TW • Pabi Daniel: We Gonne be Alright UNTIL 9 NOVEMBER

Emalin 1 Holywell Lane, EC2A 3ET • Evgeny Antufiev and Lyubov Nalogina: We are a long echo of each other UNTIL 5 NOVEMBER

Flowers, Kingsland Rd 82 Kingsland Road, E2 8DP • Richard Smith: Intersections 15 OCTOBER-JANUARY 23 • Simon Roberts UNTIL 5 NOVEMBER • Ken Currie: Black Boat UNTIL 5 NOVEMBER

Nikita Gale’s show at Chisenhale Gallery, In a Dream You Climb the Stairs, is the Los Angeles-based artist’s first solo show in the UK

Tabula Rasa Gallery 99 East Road, N1 6AQ • Lee Kai Chung: Late Port UNTIL 11 NOVEMBER

The Approach

41 Parkgate Road, SW11 4NP • Rade Petrasevic: Please Don’t Bother Me UNTIL 4 NOVEMBER

Union Pacific

Copperfield

17 Goulston Street, E1 7TP • Oliver Osborne: Mantegna’s Dead Christ UNTIL 6 NOVEMBER

6 Copperfield Street, SE1 0EP • Ella Littwitz UNTIL 29 OCTOBER

Victoria Miro

Corvi-Mora

16 Wharf Road, N1 7RW • Secundino Hernández: time TIME UNTIL 12 NOVEMBER • Alice Neel: There’s still another I see UNTIL 12 NOVEMBER

1A Kempsford Road, SE11 4NU • Alvaro Barrington UNTIL 12 NOVEMBER

○ Galleries:

Queercircle

Hales

North

7 Bethnal Green Road, E1 6LA • Carolee Schneemann: 1955-1959 UNTIL 29 OCTOBER

Cob Gallery

Kate Macgarry 27 Old Nichol Street, E2 7HR • Chou Yu-Cheng UNTIL 22 OCTOBER

Maureen Paley 60 Three Colts Lane, E2 6GQ • Olivia Plender: Our Bodies are Not the Problem UNTIL 30 OCTOBER

Mother’s Tankstation 64 Three Colts Lane, E2 6GP • Atsushi Kaga: your memorabilia floats in the air UNTIL 10 DECEMBER

New Art Projects 6D Sheep Lane, E8 4QS • Pamela Golden: Phantom Creeps UNTIL 29 OCTOBER

Nicoletti Contemporary

Soames Walk, SE10 0BN • Bones Tan Jones: Tunnel Visions UNTIL 21 DECEMBER Copeland Park, SE15 3SN • Audrey Gillespie: Troubles Generation UNTIL 29 OCTOBER

No 20

Sid Motion Gallery

20 Cross Street, N1 2BG • Jim Threapleton: LOREM IPSUM UNTIL 23 DECEMBER

24a Penarth Centre, SE15 1TR • Group Show: Same Same UNTIL 22 OCTOBER

OOF Gallery

South Parade

744 High Rd, N17 0AP • Luke Burton, Delphine Dénéréaz and Jamie Holman UNTIL 23 OCTOBER

50 Resolution Way, SE8 4AL • Tom Hardwick-Allan: Scrying the Slice UNTIL 12 NOVEMBER

The Room London

Sundy

30 Thornhill Rd, N1 1HW • Group Show: Road to Somewhere UNTIL 23 OCTOBER

63 Black Prince Road, SE11 5QH • Beth Collar: The Unforgiven UNTIL 19 NOVEMBER

The Sunday Painter

○ Galleries:

PUBLIC Gallery

Bussey Building, SE15 4ST • Bea Bonafini: Animals of Your Lips UNTIL 29 OCTOBER

276 Kingsland Road, E8 4DG • Gabriele Beveridge: Packed Stars Dividing UNTIL 29 OCTOBER

2 Melior Place, SE1 3SZ • Nazir Tanbouli and Amy Beager UNTIL 29 OCTOBER

205 Royal College St, NW1 0SG • Jack Davison: Photographic Etchings UNTIL 12 NOVEMBER

South

Seventeen

Kristin Hjellegjerde

Seen Fifteen

12a Vyner Street, E2 9DG • Gaëlle Choisne: Blue Lights in the Basement UNTIL 10 NOVEMBER 91 Middlesex Street, E1 7DA • Group Show: Fire Sermon UNTIL 5 NOVEMBER

Cooke Latham

47 Approach Road, E2 9LY • Magali Reus UNTIL 16 OCTOBER

Guts Gallery 10 Andre Street, E8 2AA • Group Show: The Artist is Present UNTIL 3 NOVEMBER

• Manuela Ribadeneira and Sheroanawe Hakihiiwe UNTIL 18 NOVEMBER

Bosse & Baum

Cabinet 132 Tyers Street, SE11 5HS • John Knight UNTIL 29 OCTOBER

Cecilia Brunson Projects Royal Oak Yard, SE1 3GD

Fairs

119 South Lambeth Road, SW8 1XA • Piotr Łakomy: House With a Garden UNTIL 5 NOVEMBER

White Cube 144-152 Bermondsey Street, SE1 3TQ • Michael Armitage: Amongst the Living with Seyni Awa Camara UNTIL 30 OCTOBER

○ Galleries: West Cromwell Place 4 Cromwell Place, SW7 2JE • Displays from 13 International Galleries VARIOUS DATES

Frestonian Gallery

Frieze London

PAD Design + Art

Regent’s Park, NW1 4LL Until 16 October

Berkeley Square, W1J 6EN UNTIL 16 OCTOBER

Frieze Masters

Start Art Fair

Gloucester Green, Regent’s Park, NW1 4HA UNTIL 16 OCTOBER

Saatchi Gallery, King’s Road, SW3 4RY UNTIL 16 OCTOBER

1-54 Contemporary African Art Fair

The Other Art Fair

2 Olaf Street, W11 4BE • Anna Freeman Bentley: Make Believe—Part 2 UNTIL 5 NOVEMBER

NIKITA GALE: PHOTO: ANDY KEATE; COURTESY OF THE ARTIST

HackelBury 4 Launceston Place, W8 5RL • Alys Tomlinson: Gli Isolani (The Islanders) UNTIL 29 OCTOBER

Piano Nobile

Somerset House, Strand, WC2R 1LA UNTIL 16 OCTOBER

The Truman Brewery, Brick Lane, E1 6QR UNTIL 16 OCTOBER

96-129 Portland Road, W11 4LW • Frank Auberbach: The Sitters UNTIL 16 DECEMBER

Roman Road 50 Golborne Road, W10 5PR • Group Show: Mystical Nature UNTIL 21 OCTOBER

The world's first and largest traveling exhibition on the prophet's journey

19

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THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

21

NEWS Art market Weak pound boosts British artists’ sales during Frieze

TRACEY EMIN: DAVID OWENS

 CONTINUED FROM PAGE 1 Frieze Week auction sales—all of which must be priced in sterling—seem also to be benefiting from the favourable exchange rate. Healthy results were achieved at yesterday’s Christie’s whiteglove evening sale of 20th- and 21st-century art, making £72.5m (including fees) against a high estimate of £60.9m (calculated without fees). David Hockney’s seaside landscape, Early Morning, SainteMaxime (1968-69), fetched more than double its high estimate, making £20.8m (with fees). A visceral Tracey Emin painting from 2022, touching on her experience of bladder cancer, sold by the artist to benefit her TKE Studios project in Margate, made £2.3m (with fees) against a high estimate of £800,000. A breakdown of bidders by region shows that 25% were from the US, a 10% increase from the equivalent sale last year. Meanwhile, Sotheby’s will hold its contemporary and ultra-contemporary evening sales tonight. James Sevier, European head of contemporary art, says: “It’s been a strong London auction season so far this week. There’s no question the currency is playing a part.” Making their Sotheby’s evening sale debuts are New York-based Julien Nguyen and the late Austrian American painter Kiki Kogelnik. The week’s strong signals are providing a glimmer of hope for London’s art market, which has faced a trifecta of challenges in Brexit, the Covid-19 pandemic and political turmoil. Speaking to dealers

at the fair, it does seem that the dust of Brexit is finally settling and things are not as catastrophic as feared. A number of European galleries at Frieze London 2021—the first after the UK left the EU’s single market—described the process of importing art to the fair as “a mess” of extreme delays and unexpected red tape. These issues haven’t disappeared entirely, but dealers have now adapted, albeit begrudgingly, to the new normal.

Brexit bureaucracy “We had issues last year, of course, but now we’ve learned the lessons,” says Javier Peres of Peres Projects, which has spaces in Berlin, Milan and Seoul. “It’s a little more expensive but nothing that a high-net-worth collector can’t swallow. You just add an extra week now. It’s not that big of a deal.” This is echoed by Jennifer Chert, the founder of Berlin gallery ChertLüdde, who says it’s not only the art industry that has grown accustomed to Brexit bureaucracy but many other actors, too, from shippers to customs officials. Chert says the UK’s low VAT for art—5% compared with Germany’s 19%—continues to prove advantageous, even though the process is still “expensive and a headache”. Outside the UK, there are further signs that the art trade is rebounding:

“The recent fall in the value of sterling has been so fast that luxury prices have not yet adjusted” Paul Donovan, UBS

Tracey Emin’s Leave me in my Own Space (2022) at Xavier Hufkens’s stand; yesterday the artist sold a work at Christie’s for £2.3m shipping costs for air and sea freight, which in the past two years surged due to the pandemic and Russia’s unprovoked invasion of Ukraine, are finally returning to pre-Covid-19 levels according to a survey of shipping costs published this week, with freight rates between Asia and Europe “down considerably” and now below 2021 prices. Rates from China to the US West Coast dropped 20% this week, to an average of $2,361 per shipment—compared with $20,000 a year ago. Major delays have decreased, too, with the latter trip taking 83 days now, rather than 112 as it did earlier this year. These improvements are attributed to decreased demand due to the global economic crisis as well as the higher cost of air cargo as passenger travel recovers. But can the UK’s art industry capitalise on a moment of fortune to maintain its competitive edge, especially with rising centres in Asia and Europe vying for its trade? A sign of Frieze’s waning relevance on the global stage can be inferred from the absence of a number of US and international galleries that

attended either the 2020 or 2021 editions of Frieze London but will show at Paris + this year—including Paula Cooper, Marian Goodman and LGDR.

Frictionless trade plea This is a key concern for Hugh Barclay, the UK director of the Affordable Art Fair, which holds its London event from 20 to 23 October. Last month, he penned an open letter to Michelle Donellan, the UK’s culture minister, on behalf of European galleries seeking to do commerce in the UK and vice versa, advocating for “frictionless trade” with no tariffs. “As the largest art fair organiser, we have seen a 30% drop in international galleries coming to the UK,” the letter reads. “Our country is experiencing a serious trade evolution, galleries aren’t responding to this post-Brexit world in a favourable way. As a result, it is reducing our access to global culture and causing economic detriment.” Whether the British government will take heed remains to be seen. Prime Minister Liz Truss faces mounting

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Yinka Shonibare CBE RA

pressure from her own party to rewrite a scaled-back budget that has caused political and economic turmoil. “The recent fall in the value of sterling has been so fast that luxury prices have probably not yet adjusted to offset the currency moves, and some shortlived bargains are therefore available,” Paul Donovan, the chief economist of UBS Wealth Management, says. “The current financial market turmoil, linked directly to a debt-laden set of government tax proposals, may have some reputational damage. The speed of the Bank of England’s response—and the suitability of the measures—might mitigate some of the damage” to the luxury goods sector, including art. The present currency disparity, opportune as it may be for some, is unlikely to last forever and sources of concern remain for British dealers. Van Haeften cites a particular bugbear: the UK’s import VAT for art from overseas. He is part of the British Art Market Federation, which continues to lobby for its repeal. Kabir Jhala

THE ART NEWSPAPER FRIEZE FAIR EDITION 14 OCTOBER 2022

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COLLECTOR’S EYE Art lovers tell us what they’ve bought and why the fashion brand Chloé. As a board member of the British Fashion Council and a textile collector, I love it when fashion and art overlap.

THE ART NEWSPAPER Frieze Art Fair editions THE ART NEWSPAPER

If money were no object, what would be your dream purchase? It’s less about money, and more because this artist’s work doesn’t come up in the market often: Nicholas Roerich, a Russian painter and philosopher. He used to make the most incredible paintings of the Himalayas— I’ve never seen anything like it. I’d buy all his works. What is the most surprising place you have displayed a work? I love fashion and fabrics. I have a mannequin at home on which I display antique textiles such as Phulkari embroidery or couture pieces like an Alexander McQueen jacket. What did you wish you had bought when you had the chance? A watercolour series by Nalini Malani, who has an upcoming National Gallery London show [2 March-11 June 2023]. I was offered it by her galleries years ago. Now I hit myself for not having purchased it.

Aarti Lohia recent donation to the National Gallery in London to support its Modern and contemporary programme. Lohia also plans to fund an area she feels gets little attention: archiving and digitisation. “South Asian art archives are by and large inaccessible, and rarely impressive,” Lohia says. “You need to work to keep archives alive through systematic documentation. Not enough philanthropists are interested in this field, but it’s vital.” Lohia also sits on the board of the Kochi Biennale Foundation and is a member of the Council of the Serpentine Galleries, Tate’s South Asia acquisitions committee and the Victoria and Albert Museum’s International Council.

THE ART NEWSPAPER: What was the first work you bought?  AARTI LOHIA: The oil painting Looking for Wings (2002) by the Indonesian artist Putu Sutawijaya. I bought it from an auction house as a 19-yearold newlywed for my marital home in Jakarta. It’s explosive, orange and two metres long. What was your most recent buy? From Galerie LJ in Paris I bought a watercolour by Rithika Merchant from her Festival of the Phoenix series (202122). What I like about Merchant, who splits her time between Mumbai and Barcelona, is that she’s a bit Eastmeets-West like me. I first noticed her from her collaboration with

What’s the best collecting advice you’ve been given? Haha! I’ve never received advice. I was very young when I started collecting and the concept of art advising is new to me. It’s all been my own research. Have you bought an NFT? I haven’t bought an NFT. For me art is an experience, and buying contemporary artists is about getting to know the artist personally. NFTs feel too transactional. Interview by Kabir Jhala

FRIEZE LONDON EDITIONS EDITORIAL Editors Lee Cheshire, Benjamin Sutton Deputy editor Aimee Dawson Commissioning editor Hannah McGivern Contributors Georgina Adam, Louisa Buck, Lee Cheshire, Jareh Das, Aimee Dawson, Daniel Grant, Gareth Harris, Edwin Heathcote, Charlotte Jansen, Louis Jebb, Kabir Jhala, Chinma Johnson-Nwosu, Ben Luke, Joanna Moorhead, Scott Reyburn, Tom Seymour, Anny Shaw, José da Silva, Seb Summers Production editor Hannah May Kilroy Design James Ladbury Sub-editing Andrew McIlwraith, Vivienne Riddoch Picture editor Amanda Perez Photographer David Owens

PUBLISHING AND COMMERCIAL Publisher Inna Bazhenova Partnerships and art fairs manager Rohan Stephens Advertising sales director Henrietta Bentall Advertising sales manager, Americas Kristin Troccoli Sales executive, Americas Stephen Kaminski Art director (commercial) Daniela Hathaway

TO ADVERTISE, PLEASE CONTACT: UK, Europe and rest of world Henrietta Bentall T: +44 (0)203 586 8041 E: [email protected] Americas Kristin Troccoli T: +1 212 343 0727 E: [email protected]

CONTACT US: In the UK: The Art Newspaper, 17 Hanover Square, London W1S 1BN T: +44 0203 586 8054 E: [email protected] In the US: 130 West 25th Street, Suite 2C, New York, NY 10001 T: +1 212 343 0727 Fax: +1 212 965 5367 E: [email protected] Website: theartnewspaper.com 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.

© The Art Newspaper, 2022 All rights reserved. No part of this newspaper may be reproduced without written consent of the copyright proprietor. The Art Newspaper is not responsible for statements expressed in the signed articles and interviews. While every care is taken by the publishers, the contents of advertisements are the responsibility of the individual advertisers.

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William Kentridge: Photo (detail): Anthea Pokroy; Emma Talbot: Photo (detail): Thierry Bal; Michael Armitage (detail): © White Cube, Photo: Theo Christelis; Anicka Yi: Photo (detail): Sebastian Kim; Glenn Brown: Portrait of Glenn (detail) Photo: Edgar Laguinia

I

n the nearly three decades since she began collecting, Aarti Lohia has developed some clear opinions about art philanthropy. Based in London since 2016, following stints in Singapore and Indonesia, she remains focused on India, where she is originally from— and where she feels her efforts are best served. “Indian collectors give back to get something in return,” Lohia says. “We have a long way to go in fostering a philanthropic culture.” Recently she established the SP Lohia Foundation, named after her father-in-law, the Indian-born Indonesian industrialist and lithograph collector Sri Pakash Lohia. The foundation’s endeavours include a

Which artists, dead or alive, would you invite to your dream dinner party? Shilpa Gupta, who I have immense respect for. She is one of the most brilliant minds in the art world globally. I would invite her, and then William Kentridge, who speaks very well, to explain Shilpa’s works to me, as they’re sometimes very difficult for me to understand. And I’d like to meet Basquiat. I’m interested in how music influenced his art.

Editor, The Art Newspaper Alison Cole Acting deputy editor Gareth Harris Managing editor Louis Jebb

A brush with… WILLIAM KENTRIDGE // EMMA TALBOT MICHAEL ARMITAGE // ANICKA YI // GLENN BROWN SPONSORED BY

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LOHIA: COURTESY OF AARTI LOHIA

If your house was on fire, which work would you save? A 1977 photograph by Martin Parr: it shows two men sitting in a Hungarian bath playing chess. My son is a young chess champion, so the work captures a lot about my life.

PAUL DESTRIBATS BIBLIOTHÈQUE DES AVANTS-GARDES PART 5 AUCTION · 3 & 4 November 2022 · Paris VIEWING · 26 October - 2 November 2022 · 9 Avenue Matignon, Paris 8e CONTACT · Adrien Legendre · [email protected] · +33 (0)1 40 76 83 74

MAX ERNST ET BENJAMIN PÉRET. Au 125 du boulevard Saint-Germain. Paris, Collection “Littérature”, 1923. First edition. One of the 10 deluxe copies on Japan paper. This exceptional copy comprises an original drawing by Max Ernst (ink on paper) €30,000 - 40,000 ©Adagp, Paris, 2022

Auction | Private Sales | christies.com

ARSHILE GORKY

FRIEZE MASTERS ARSHILE GORKY, COMPOSITION NO. 1 (DETAIL), CA 1928 – 1929, OIL ON CANVAS, 133.4 × 108 × 8.9 CM / 52 ½ × 42 ½ × 3 ½ IN (FRAMED) © THE ARSHILE GORKY FOUNDATION / ARTISTS RIGHTS SOCIETY. PHOTO: THOMAS BARRATT