issue 4, FRIEZE FAIR EDITION 15-16 OCTOBER 2022 The Art Newspaper

Citation preview

SUE

4 IS

PRINTED ON SUSTAINABLE PAPER

FREE EDITION

THE ART NEWSPAPER| FRIEZE ART FAIR|15-16 OCTOBER 2022

ISSUE 4| FREE EVERY DAY

Major galleries sign Venice Biennale’s women artists—at last Commercial representation is growing for leading women artists who launched and sustained careers before the art market cared

F

ACAYE KERUNEN: DAVID OWENS. BOTTICELLI: © CHRISTIE’S. NATIONAL GALLERY: COURTESY OF JUST STOP OIL

or the f irst time in its almost 130-year history, female artists significantly outweigh men at this year’s Venice Biennale (until 27 November). Among them are Sonia Boyce, who won the Golden Lion for her British pavilion presentation; Zineb Sedira, who has garnered rave reviews for transforming the French pavilion into a cinematographic installation; and the social activist Acaye Kerunen, who is representing Uganda with Collin Sekajugo. The impact on the market has been almost immediate. In the run up to the biennial and since, these women have all been signed to major galleries— some for the first time in their long and remarkable careers. Simon Lee is giving Boyce her first solo show with the gallery during Frieze this week; the London dealer announced his representation of the artist in May 2021, telling The Art Newspaper at the time: “We look forward to amplifying Sonia’s vital and urgent voice, to build a legacy for her practice at an international level.” (Boyce continues to be represented by Apalazzo Gallery in Italy.) In 1987, when she was just 25, Boyce became the first Black female artist to enter the Tate’s collection when the

museum bought her drawing, Missionary Position II (1985), for an undisclosed sum. Around that time, she moved from drawing to a more performative social practice, which has arguably been more difficult to collect, particularly for private buyers. The gallery declined to comment on prices, but a spokesperson says Boyce’s solo show “has been extremely well received, both from a critical and commercial perspective”. Like Boyce, Sedira’s practice leans towards the archival and communal. Last month, the French-Algerian artist

joined Goodman Gallery, which has spaces in South Africa and London. (She is also represented by Kamel Mennour in Paris.) Surprisingly for someone who has been based in the UK capital for more than 30 years, Sedira says she has never been approached by a London gallery— perhaps, she suggests, “because my work is focused on French imperialism rather than British”. She adds: “I’m in this funny space; I’m Arab and African. I’m too white to be black and too dark to be white.”

Agency input

Acaye Kerunen’s VPN (Very Personal Network) (2022), showing at Pace Gallery’s stand at Frieze London

Goodman Gallery, meanwhile, expressed interest after seeing her pavilion in Venice. There are now plans for Sedira to show at the gallery’s Cape Town space in November, while an “institutional show in London is in the pipeline”. Her prices range from $20,000 to $100,000. Pace Gallery, which now represents Kerunen together with Blum & Poe and Galerie Kandlhofer, signed the artist last month after seeing her work in Venice. The deal has been overseen by the Belgian agency, Stjarna.art, which has managed Kerunen since 2021. “They ensure that all my galleries are telling a

THE ART N EWS PA PE R . C O M

(1444/45-1510) by Sandro Botticelli, estimate in excess of $40m. Other artists featured include Lucian Freud, Wassily Kandinsky and René Magritte. All of the lots in the Allen auctions will be guaranteed, an increasingly standard offering used by Christie’s and rival Sotheby’s to secure consignments of major collections. Whether any of the Allen works have been backed by third parties will become clearer next week. “It will all be manifest in the sale catalogue, which is due out next week,” says Giovanna Bertazzoni, Christie’s vice-chairman for

/

D OW N LOA D THE A P P

Eco-activists’ anti-oil protest targets Van Gogh Sunflowers Environmental activists from the Just Stop Oil campaign group carried out their most audacious protest yet on Friday at the National Gallery in London, throwing the contents of a can of tomato soup over one of the most famous paintings in the world: Vincent van Gogh’s Sunflowers (1888). A spokesperson for the museum says that there is some minor damage to the frame but the painting is unharmed, adding: “The pair appeared to glue themselves to the wall adjacent to Van Gogh’s Sunflowers. They

also threw a red substance—what appears to be tomato soup—over the painting. The room was cleared of visitors and police were called.” Both campaigners were arrested. Just Stop Oil released a statement saying that “the disruption is in response to the government’s inaction on both the cost of living crisis and the climate crisis”. In July, Just Stop Oil activists glued themselves to the celebrated Constable painting, The Hay Wain (1821), at the National Gallery. Gareth Harris

CONTINUED ON PAGE 21 

Christie’s auction will open Windows onto Microsoft mogul’s art collection A SELECTION OF WORKS FROM THE COLLECTION OF THE LATE MICROSOFT CO-FOUNDER PAUL ALLEN—including a work by Paul Cézanne with an estimate in excess of $120m—are on show at Christie’s London this weekend prior to the sale of the entire holdings in New York next month (9-10 November). The London preview, which is open to the public (until 17 October), features 12 works. These include Georges Seurat’s Les Poseuses, Ensemble (Petite version) (1888)—estimate in excess of $100m—and Madonna of the Magnificat

The two activists threw tomato soup over Van Gogh’s Sunflowers at London’s National Gallery, causing minor damage to the frame, before glueing themselves to the wall

20th and 21st century art. The more than 150 works have an estimated cumulative value of $1bn. All proceeds will go towards philanthropic causes in line with the wishes of the tech mogul and collector, who died in 2018. The Cézanne work—La montagne Sainte-Victoire (1888-90)—carries the collection’s highest estimate. “I don’t think the estimate rules out museums,” Bertazzoni says. “There are US museums supported by great donors. If this goes to a great collection, it will hopefully end up in an American museum. Collectors recognise

/

else. “He liked paintings to do with this is a once-in-a-lifetime opportumaths. He liked pointillism nity.” During his lifetime, Allen because it has a strong scioften loaned his works for entific theory at its core.” museum exhibitions; There is also the after he died, his homeissue of the fate of town institution, the the remaining works Seattle Art Museum, in the Allen collechosted a show of tion, overseen by choice paintings his estate. “We do from his collection not know what will that included many happen to the rest of of the works now the collection,” Bertazheaded to auction. zoni says. Other works are “Allen was a very due to go on show at Chrisselective collector who tie’s Paris later this month could wait and did it all himself, without advisers,” The sale includes Botticelli’s (20-22 October) before the Bertazzoni says, adding Madonna of the Magnificat, full preview in New York that he was a computer which carries an estimate in opens on 29 October. Gareth Harris scientist before anything excess of $40m

@ THEA RTN EW S PA P E R

/

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

2

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

NEWS Frieze week

While David Aaron gallery’s £1m sale of a 154 million-year-old Camptosaurus skeleton highlights collectors’ growing interest in fossils, auction houses remain the winners in a highly complex—and laborious—market

The fossilised skull of a juvenile triceratops, on show at David Aaron gallery, has been reserved for a price below £1m. Frieze Masters’s first fossilised skeleton, a 50 million year-old crocodile, was sold for £1.2m in 2019 by ArtAncient

T

hey might not be the most expensive objects at Frieze Masters, but two dinosaur fossils at the stand of David Aaron gallery are certainly vying to be the oldest. The London gallery is showing a complete skeleton of a 154 million-yearold Camptosaurus (Latin for “flexible lizard”), which sold on day one for £1m to a private collector, and the skull of a juvenile Triceratops, which has been reserved “for a price lower than £1m”, the gallery’s director Salomon Aaron

says. “We’ve been acquiring dinosaurs for at least a decade, and publicly displaying them for a few years. Most collectors of fossils and similar natural history objects tend to skew towards the very young and primarily collect contemporary art.”   This demographic fact is echoed by Jethro Sverdloff, director of London gallery ArtAncient, which was the first to bring a fossilised skeleton to Frieze Masters back in 2019; it sold a 50 million-year-old crocodile for £1.2m to a young European collector. This

year, the gallery brought a collection of meteorites to the fair.

Watershed moment The “market really took off around eight years ago”, Sverdloff says. Dinosaurs are still an uncommon sight at art fairs; they are more usually found at public auction. While the 1997 sale of the Tyrannosaurus rex, “Sue”, at Sotheby’s for $8.3m is considered a watershed moment, it was not until “Stan” the T-rex sold for $30.8m in a 2020 Christie’s evening

Higher costs for high-end fairs STAGING AN ART FAIR IS A COSTLY AND COMPLICATED BUSINESS at the best of times—and for many in the UK, right now is not the best of times. Since its inception in 2003, Frieze London has installed temporary tents and other structures in Regent’s Park for its weeklong run. To do so requires electricity, heating, building supplies, contractors and other elements that have recently become more costly due to a myriad of factors: record levels of inflation, an energy crisis provoked by Russia’s invasion of Ukraine, and Brexit- and pandemic-related supply-chain issues. Production of Frieze London and Frieze Masters is run by two companies. London-based 20-20 Events handles all aspects of site management, including heating, electricity and toilet facilities. The Dutch company Neptunus—which erects temporary structures for a number of European trade fairs and exhibitions both in and

outside the art industry—manufactures and installs the tents. Frieze declined to comment on contractor costs for its London fairs, but another of Neptunus’s clients has spoken of surging rates. Patrick Perrin, the founder of PAD London (until 16 October), says that contractors and suppliers have “all increased their fees by 20% to 50% and to an extent have taken advantage of the current climate to do so”. A concrete example of this, Perrin says, is the cost of fuel, which provides electricity, airconditioning and heating, and “which has been increased by two to three times”. Like Frieze, Perrin’s fair erects a temporary tent, theirs located in Mayfair’s Berkeley Square to house 52 exhibitor stands. For now, PAD is committed to reconducting its 2019 contracts, so there will be no additional participation fees for the 70 exhibitors

The impact of factors including soaring energy costs and runaway inflation could encourage organisers of fairs such as Frieze to consider moving to greener options

sale that the category truly entered the consciousness of the art world. Next month, Christie’s will offer the first T-Rex in Asia, for $15m-$25m at auction in Hong Kong.  But what determines whether a fossil is sold at auction or at a commercial gallery? Many of these objects at auction have not been sold since being excavated, and so could be compared to the primary market for art. “The auctions can achieve fantastic prices,” Sverdloff says. “Conversely— and similarly to art—private dealers can provide curated shows that auction houses, with their non-stop calendars, are usually unable to. Also, bringing something to Frieze Masters means that it has undergone a stringent vetting process that all works shown at the fair are subject to. That is reassuring to buyers.” The excavation process between discovery and having it in the condition to be placed on a stand can take anywhere from several months to several years. This process is “fraught with financial risks for the excavators, who must work intensely with a team of conservators and preppers, usually at their own expense, to unearth these objects”, Aaron explains. And if, once they have done so, the work is not of good quality, or breaks in the excavation process, they will struggle to find a good price for it. “In this way, it is not unlike an artist in their studio. There is no guarantee something will sell; there is always uncertainty.” Kabir Jhala 

“The auctions can achieve fantastic prices in a way a private dealer is unlikely to” Jethro Sverdloff, ArtAncient

this year. But, Perrin adds, it “goes without saying that the fair will have to increase our fees next year so we can cover these extra costs”. There may be a green lining in all this for fairs that made moves to reduce their carbon footprints. As Richard McConkey—the director of A Studio Between and the lead architect of this year’s Frieze tents—says, many steps taken by the fair prior to the current energy crisis will help mitigate some of these costs and headaches. Some of the cost issues come down to supply-chain length, he explains; increased wait times at each stage mean higher costs, so greener supply chains, which are shorter and require less manufacturing, “also mean cheaper” supply chains. McConkey points out that Frieze has in recent years committed to using “no virgin materials” for its fair construction and instead relies “mainly on rented components for its building parts, which are then reused”. Kabir Jhala

News in brief

Anish Kapoor’s Untitled (2019) features in the Sotheby’s sale

ICA LOOKS AHEAD AS IT CELEBRATES 75 YEARS London’s Institute of Contemporary Arts (ICA), which marks its 75th anniversary this year, is planning for its future with Saturday’s sale of 22 works by artists affiliated with the gallery at Sotheby’s. The pieces will be included in the contemporary art day sale and include a new recycled shoe sculpture by the Dutch artist Tenant of Culture (est £3,000-£4,000); a work on paper by Marlene Dumas (est £100,000£150,000); and an untitled gouache composition (est £50,000-£70,000) by Anish Kapoor—who first showed at the ICA in 1981. “It has, since its inception, championed the new, the inventive and the daring,” Kapoor said of the gallery. “The ICA, thankfully, is one of the few institutions that continues its work to re-establish the modern, the multicultural, the progressive.” Benjamin Sutton

SAUDI ARABIA BUILDING MUSEUM FOR LEONARDO’S SALVATOR MUNDI Leonardo Da Vinci’s Salvator Mundi has been hidden from public view ever since it was sold at a Christie’s New York auction in 2017 for $450m (including fees). But the British art historian Martin Kemp may soon help bring the world’s most elusive painting “into the light”, he said at the Cheltenham Literary Festival on Tuesday. Kemp has been invited to Saudi Arabia by Crown Prince Mohammed bin Salman, who is reportedly building an art gallery in which to display the world’s most expensive painting, Kemp revealed. “It is in Saudi Arabia and the country is constructing an art gallery, which is to be finished in 2024,” he said. “There have been moves to get me out to look at it.” Tom Seymour

BATTERSEA POWER STATION REOPENS AFTER 40 YEARS OF NEGLECT A decade after the £9bn regeneration project was first announced, Battersea Power Station in London’s Wandsworth has opened its doors. The former industrial site has been transformed into a shopping, housing and entertainment complex; the Grade II* Art Deco building also boasts 250 shops, offices and a cinema. One of the largest brick buildings in the world, Battersea Power Station was designed by Giles Gilbert Scott, who was also behind Bankside Power Station—better known as Tate Modern. A free opening celebration will run this weekend and next. Chinma Johnson-Nwosu

DINOSAUR: DAVID OWENS.FRIEZE TENT: PHOTO: JOE CLARK; COURTESY FRIEZE. ANISH KAPOOR: COURTESY OF THE ARTIST, THE ICA AND SOTHEBY’S

Regent’s Jurassic Park: dinosaurs take Frieze Masters

4

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

DIARY Frieze Week

Old works inspire the New Order Eight contemporary artists delivered quick-fire ten-minute talks in front of their favourite National Gallery works for the event Unexpected Views on Thursday night. Among the line-up of art-historical speed daters were Alvaro Barrington, who actually abandoned his own private view at Corvi-Mora to talk about Monet’s Water-Lilies, Setting Sun (around 1907), which he declared “a perfect painting”, and Rachel Maclean, who chose Quintin Massys’s An Old Woman (The Ugly Duchess) (around 1513) as part of her ongoing interest in “the problematic nature of beauty”. Samson Kambalu, whose sculpture, Antelope, currently occupies Rachel Maclean described her fascination with the Trafalgar Square’s Fourth National Gallery’s work, Plinth, described his ambivalent affection for Paul An Old Woman (The Ugly Duchess) by Quintin Massys Gauguin’s A Vase of Flowers (1896), while the graphic designer Peter Saville revealed how his purchase of a postcard in the National Gallery’s shop resulted in Ignace-Henri-Théodore Fantin-Latour’s A Basket of Roses (1890), inspiring his design for the now legendary cover for New Order’s 1983 album, Power, Corruption & Lies.

Sounds like Mumbai People are getting on their knees at Frieze to go back in time. Visitors to the fair are taking a break from browsing and shopping to kneel on a cushion near the Frieze London exit and watch a series of films in an octagonal viewfinder, cranking a handle to watch them unfold. The so-called Bioscope was devised by Kinnari Saraiya as part of her Frieze x Deutsche Bank curatorial fellowship at Baltic in Gateshead. “I’ve recreated the sound of the gramophones stationed in the street by labourers in Mumbai. A lady just said this was the sound of her childhood,” says Saraiya. Talk about moving images…

Hauser & Wirth get the Royal nod Dubito Ergo Cogito encourages visitors to imagine what The Thinker was thinking about. His dinner, probably

Turn on, tune in, drop out: Kinnari Saraiya’s Bioscope offers the perfect antidote to the Frieze frenzy

Visitors to Frieze Sculpture in Regent’s Park can park their bottoms on a rather cheeky plinth designed by Ron Arad, whose Dubito Ergo Cogito (2022) piece draws upon Rodin’s The Thinker. People are keen to sit on the work, which, says Arad, “The Thinker has left, leaving us the bronze volume he

was sitting on, with an imprint of his bum and feet”. We spotted a pair of enthusiastic fairgoers known as Gabrielle and Christiane from Switzerland recreating the celebrated Thinker pose, explaining that they had just been to Arad’s studio. “He is keen to know what we think!” they said. Ron, they love your work, btw.

Hauser & Wirth always pulls in a good crowd but the gallery excelled itself at Wednesday’s opening of its latest foray into hospitality when none other than King Charles III and Camilla, the Queen Consort, turned up at its new Mayfair pub and restaurant. Apart from confirming their presence, H&W are tight-lipped as to exactly which part of the new gastronomic emporium received Royal approval—but it was likely the artbedecked first-floor Mount Street Restaurant, showing works by Lucian Freud, Frank Auerbach, Andy Warhol and Keith Tyson.

BIOSCOPE: PHOTO: GARETH HARRIS. RON ARAD: PHOTO: LINDA NYLIND; COURTESY OF LINDA NYLIND/FRIEZE. RACHEL MACLEAN: PHOTO: LOUISA BUCK/THE ART NEWSPAPER

Cheeky plinth gets bums on Rodin’s seat

Jenny Saville Latent 9 rue de Castiglione Paris

GAGOSIAN

teamLab

teamLab, Matter is Void - Water, 2022, Digital Work, Endless © teamLab

Matter is Void NFT Series

Scan Here to Download the Artwork

On View at Paris+ pacegallery.com/pace-verso

7

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

FEATURE Art market

PARIS LONDON VS

London’s struggles with the reality of leaving the European Union coupled with a government unsympathetic to the arts means the French capital is gaining the edge over its rival. By Scott Reyburn

PARIS: PHOTO: S J LIEVANO. LONDON: PHOTO: SERGII FIGURNYI

P

aris versus London: a tale of two art hubs. We know how this historic rivalry has supposedly played out. London has the offshored billionaires and big-ticket auctions, Paris the artistic pedigree. London is the city for the latest cuttingedge contemporary art, Paris for classic contemporary. London is cool, Paris chic. And so on. But a lot has happened in the past six years to shake up these suppositions. Britain’s 2016 vote to leave the European Union, ending free passage of goods between the UK and the world’s largest trading bloc, has damaged the London art market. Last year, the UK’s share of global auction sales declined to 13%, down from 18% in 2019, according to the latest Art Basel/ UBS Art Market report. Equivalent auction sales in France in 2021 leapt from 6% to 9%.   Once London-based dealers were burdened with new Brexit-related tariffs, bureaucracy and shipping costs,

Paris became the logical alternative for international galleries. David Zwirner, Skarstedt, Mariane Ibrahim, Galleria Continua, White Cube and Gagosian have all set up new branches in the French capital, and Hauser & Wirth opens there next year.  At least in the October fair season, London still has Frieze, Europe’s coolest contemporary art mall in a tent. But now Paris’s venerable, if less commercial, Foire Internationale d’Art Contemporain (Fiac) has been replaced (for the moment, also in a tent) by the eagerly awaited Paris+, organised by Art Basel, the world’s biggest and slickest art fair franchise. Back in the 2010s there was a week-long hiatus between these prestigious London and Paris fairs, making it inconvenient for long-haul visitors to attend both events. Frieze London and Paris+ are being held consecutively. Equally importantly, the US dollar has reached its highest value for decades against both the pound and the euro. “I’m going to both Frieze London and Paris+ because I will likely buy art for clients

ARTIST RESIDENCY PROGRAMME

The steady trickle of London-based dealers opening outposts in the French capital, the launch of Art Basel’s Paris+ and the dollar’s strength against the euro have increased Paris’s attractiveness to the long-haul visitor

at both fairs,” says Wendy Cromwell, a New York-based art adviser. “The exchange rate makes it extra compelling for Americans.” But, for Cromwell, Frieze, which is now majority owned by the California-based entertainment behemoth Endeavor, has lost the edge that made London in October a must-attend date for so many American collectors and advisers. “Frieze has a strong brand but already last year it was clear that the energy had shifted from their original UK venue to Los Angeles—and now Seoul,” Cromwell says.

“There are a lot of smaller auction houses that give vitality to the Paris art scene” Cécile Verdier, Christie’s France

“Paris+ isn’t going to be a huge fair, but it’s [Art] Basel, so the quality will be there, plus it’s the city of light, which is extra sparkly these days. Post-Brexit, Paris is the city.”

‘Paris is a trademark’ The opening of the Fondation Louis Vuitton and the Bourse de Commerce, two exceptional private museums founded by the mega-collectors Bernard Arnault and Francois Pinault respectively, has added an extra dimension to the Paris art scene. So, too, has the arrival of so many prestigious international dealerships in the city, according to Cécile Verdier, the president of Christie’s France. “It has encouraged collectors to spend more time in Paris,” she says, which in turn has enhanced demand at the city’s auctions. In June, Christie’s live sale of the opulent Hubert de Givenchy collection of 20th-century art and 18th-century furnishings raised €114.4m, more than CONTINUED ON PAGE 8 

Montmartre, Paris For artists from all over the world  From 3 to 6 months

CALL FOR APPLICATIONS FOR THE 2023 EDITION  Open until November 4th

or artxplora.org

8

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

FEATURE Art market  CONTINUED FROM PAGE 7

42%

Antony Gormley Frieze London Booth A06

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

Above: While the French government, led by President Emmanuel Macron, sees social and economic value in the creative arts, the UK’s Conservative government— now headed by Prime Minister Liz Truss—has halved funding for art and design degrees

Studies, funded by the British government, concluded that studying the creative arts appeared to result in “lower earnings at age 29 than not going to university at all”. State funding for art and design degrees in the UK was cut by 50% last year. The British government’s recent massive bailout of the UK’s energy companies will likely pile further pressure on arts education and the culture sector in general.

From culture to culture wars The French government, by contrast, sees social and economic value in the creative arts. Last October, during the week of what proved to be the farewell Fiac art fair, President Emmanuel Macron invited 200 dealers and artists to a reception at the Élysée Palace to thank them for making Paris the “nerve centre of the art world”.  It is difficult to imagine Prime Minister Liz Truss hosting a similar event during Frieze week. Today, when Britain’s true-blue Conservatives think about culture, they think

about the culture wars. London and Paris are both great cities with extraordinarily rich art scenes. But is post-Brexit Britain, with its declining economy driven by a ruthlessly extractive form of neoliberal capitalism, which despises liberal values and the creativity they encourage, the sort of place that people who care about art want to visit?  “Times have changed. London has become a far-off city, bulwarked by [free] market conservatives,” says André Gordts, a Belgian collector who used to have a flat in London and was a regular visitor to the Frieze fair. He is now based in Brussels. “The incentive for entering this vampiric bastion is not very great,” he adds, noting he will be visiting Paris+, but not Frieze. Gordts does not think the balance of European art-world power has yet shifted to Paris, but he no longer wants to visit London. “I do not feel welcome in the UK, and it will take a hell of a time to overcome this feeling,” he says. A case of vive la difference, perhaps?

MACRON: PHOTO: LUDOVIC MARIN/REUTERS; ALAMY STOCK PHOTO. TRUSS: ANDREW PARSONS/NO 10 DOWNING STREET; CROWN COPYRIGHT

“There’s a greater concentration of galleries I want to deal with in London”

doubling the pre-sale low estimate. Twenty lots sold for more than €1m, many bought by Asian clients. “Asians like buying in Paris,” Verdier says. “Paris is a trademark in itself to them.” Sotheby’s is moving next year into an expanded 3,500 sq. m Paris headquarters Candace Worth, art adviser, New York at 83 rue du Faubourg Saint-Honoré. The firm expects its sale this month of the to go to in London,” says the New Yorkopulent contents of the Hôtel Lambert, based art adviser Candace Worth, who the home of Sheikh Hamad bin Abdullah specialises in the “primary” market of new Al Thani, to raise at least €50m. Bonhams works bought directly from dealers. “Paris has also expanded in Paris, having recently has never been as transactional for me. acquired the French auction house There’s a greater concentration of galleries Cornette de Saint-Cyr. I want to deal with in London.” “There is a special ecosystem here,” But has London’s contemporary art Verdier says. “There are a lot of smaller scene still got its gritty mojo now that the auction houses that give vitality to the Paris YBAs are now middle-aged, Frieze is owned art scene.” Art market information specialist by a US conglomerate and the onerous Artprice reports that Paris auction cost of attending the UK’s prestigious houses posted “exceptionally art schools deters gifted strong performances” in the students from less affluent first half of 2022, with sales backgrounds? at Artcurial up 42% and “There’s always Aguttes up 154%. talent coming out of But for all Britain,” Worth points this cultural and out. “People are commercial picking up British resurgence, Paris, for artists from the art the moment at least, schools.” Increase in sales at French still lacks London’s It remains to be auction house Artcurial strength-in-depth seen how long this will of highly regarded in first half of 2022 continue, however. The contemporary dealerships new culture secretary in that recognise and nurture Britain’s latest Conservative serious artistic talent. A branch government is Michelle of Gagosian or David Zwirner is Donelan, who in January, as one thing, but finding Parisian equivalents universities minister, vowed to “stamp out” of Sadie Coles, Thomas Dane, Josh Lilley, so-called “low-quality” courses that did not Stuart Shave and Carlos Ishikawa is another. offer progression to well-paid graduate jobs. “There’s a lot more activity and galleries In 2018, research by the Institute of Fiscal

12

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

IN PICTURES Focus

New kids on

the block As always, the Focus section at Frieze London looks at younger galleries—those in operation for 12 years or less. It is what you might call the Frieze fringe, and its tighter structure and more open stands make it feel friendlier, more discursive, less formal and less competitive, perhaps, than the main section. But even though the 35 galleries from across the globe are showing work that might reflect a more cutting-edge sensibility than elsewhere at the fair, it doesn’t mean everyone here is emerging: in this selection of eye-catching stands, while most of the artists are in their 30s, Estonian Kaarel Kurismaa was born in 1939. By Ben Luke, Photographs by David Owens

1

Gaëlle Choisne NICOLETTI

Choisne’s works evoke the esoteric religion that underpinned much early Modernist abstraction, Theosophy, while also exploring colonial histories. The French Haitian artist calls five of the works here Mémoires akashiques—“akasha” in Theosophy is the primordial material of the universe. Choisne alludes to the notion of intertwined matter and meaning in panels made using jesmonite and food pigments. Images found in colonial archives, including botanical and zoological drawings and religious figures, are laser-etched into their surface. Three panels stand on glass plinths, while two are hinged to the stand’s walls, which Choisne has also decorated with clumps of paint and plaster. This complex environment is completed with a walnut sculpture of a Venus and a survival blanket embedded with objects left behind in refugee camps.

2

Nabuqi KIANG MALINGUE

Nabuqi, born in 1984 in Inner Mongolia, China, creates sculpture that sits on the cusp of art objecthood and domestic function. Her pieces are enigmatic: at the heart of the stand is a low, circular table made in acrylic. Placed on it are a bowl, a draped textile, some balls and a series of hoops. Behind it on the wall is an undulating lightbox with a repeated image of a bird (a wire-crested thorntail, apparently), with patterned wallpaper beneath it. Alongside that is a Pop-artish phallic yellow oval made in leather. It’s a curious tableau: as if we’ve walked into a domestic space in the aftermath of some sort of game or ritual.

3

Kaarel Kurismaa TEMNIKOVA & KASELA

Kurismaa was born in Estonia in 1939 and was a leading figure in kinetic and sound art during Soviet times. His work from that period no longer exists, but his installation at Frieze reflects 25 years of practice. On the floor is Intermezzo (1997), in which tiny cymbals mounted on folded metal strips are struck by mechanised beaters, prompting gentle ringing that can be heard across the Focus section. Also on view are sculptures made with clusters of school bells painted grey and works in which ticking timers are set within circular forms made with layers of painted wood. Wall paintings complete the setting for an intriguing sonic and visual ensemble.

4

Gerrit Frohne-Brinkmann

GALERIE NOAH KLINK

Anyone remember Squawkers McCaw? The animatronic parrot was launched

in the mid-2000s by Hasbro—a life-size toy that would talk, eat toy crackers and even sing and dance. German artist Gerrit Frohne-Brinkmann has gathered a cluster of rather sorry-looking Squawkers on internet auction sites. Sitting on metal “branches” across the stand, damaged and soiled (the installation is called Dirty Parrots), they still shuffle, flap their wings and flutter their eyes but seem somewhat chastened amid the Frieze hubbub. Apparently, they also utter remembered statements from previous owners, but I only heard the occasional, muted caw. Of course, they’re a symbol of technological progress—clunky anachronisms compared to today’s virtual cute companions. Corralled in this mini-zoo, they are a rather elegiac presence.

Hayden Dunham and Women’s History Museum

5

1

COMPANY GALLERY

Meet two distinct but enticing US artists. Dunham’s painting, swing-like reliefs and hanging sculpture are all about their materiality. Dunham is described as both an alchemist and an artist, and has invented a material called H+, which transforms over time. So everything is in flux: liquid arrested as it forms, solids dissolving. Women’s History Museum, meanwhile, a two-person collective formed by Amanda McGowan and Mattie Rivkah Barringer, operates between art and fashion. The duo’s work here takes two forms: photographic pieces including a poster for their recent collection, The Secret Litter of My Metropolitan Fashion Life (2022), featuring a female figure lying amid fashion debris and rats; and a sculptural piece with a mannequin surrounded by shoes. They include stilettos bedecked with drugs—a whole new meaning for high heels.

6

Daiga Grantina EMALIN

Latvian artist Grantina recently had a residency near Lake Orta in Piedmont, Italy, and her small, abstract reliefs reflect on her time there with a watery lyricism. Grantina took note of everything on the lake—from the ripples and reflections of light to the insects that skate on its surface. She achieves powerful effects with a light touch: pieces of plywood cut into undulating or angular shapes, stained with ink; fabric forms that flow like liquid, set in silicone. But there’s also a spareness—a tough directness—in her method: the fabric is clearly stapled onto the wooden supports with a staplegun, for instance. Arranged around the stand, the reliefs have the appearance of glimpses of experience, memories captured poignantly and elegantly.

4

5

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

2

3

6

13

14

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

INTERVIEW Artists

Barbara Chase-Riboud

Accidental historian

T Chase-Riboud’s Serpentine retrospective includes more than 30 large-scale sculptures and works on paper

he US sculptor, poet and historical novelist Barbara Chase-Riboud has had an incredible career spanning seven decades. Her breakout moment as a visual artist came in 1957, when she participated in the first Festival of Two Worlds in Spoleto, Italy. Chase-Riboud learned the traditional technique of lost-wax bronze casting, which she has incorporated into her distinctive, hybrid approach to abstract sculpture, characterised by an interplay between folds of materials and a deep engagement with history. Travel and a fascination with powerful women have shaped the way Chase-Riboud sees the world, as exemplified by her series of sculptures

dedicated to the Egyptian queen Cleopatra and a new monumental work inspired by the dancer and civil rights activist Josephine Baker. La Musica Josephine Red/Black (2021) makes its premiere in the artist’s first major UK retrospective, at London’s Serpentine North Gallery, among more than 30 large-scale sculptures and works on paper. Here, Chase-Riboud discusses her creative practice as an “accidental historian”, upending the past to make sense of the present. THE ART NEWSPAPER: To fold a line is a gesture that opens a new space. Could you describe the concept of the fold in your sculptures and how it has informed an individual language of abstraction in your work?

ANTHONY HILL œÕÀ iV>`iÃ

Frieze Masters stand D4

Annely Juda Fine Art 23 Dering Street London W1S 1AW

/iäÓäÇÈәÇxÇnÜÜÜ°>˜˜iÞÕ`>w˜i>ÀÌ°Vœ°ÕŽ

Art_Newspaper_FM4.indd 1

03/10/2022 13:04

BARBARA CHASE-RIBOUD: PHOTO: VIRGINIA HAROLD

As her first UK retrospective opens in London, the US sculptor reflects on how her early travels influenced her seven-decade career. By Jareh Das

15

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

BARBARA CHASE-RIBOUD: The fold has two elements to it. One is intellectual, the other is material. They come together instinctively because I can manage a material that I have complete control over. These two things work together. Working with varied materials means you must make an interaction between them, which is also a form of poetry when it works. It is immensely powerful.

How did you navigate arriving in Europe in the late 1950s? You showed at the first Spoleto festival in 1957 and worked in the Italian film industry to support yourself, while remaining committed to your art practice. It was an incredible piece of luck that I was invited to the first Spoleto festival. I had no business being there because I was a nobody, but they decided that they were going to show Adam and Eve, which is my first large-size bronze. This was my introduction into the European art world, which was incredible, and I took advantage of it. I met so many people who later came back into my life at certain points. But this was also an historic moment for Modernism in Europe and in the world. I was just following my nose. I wasn’t saying much. I was listening and looking and meeting people. What can I say? I didn’t know what I was doing, but I was doing it anyway. Memory plays an important part in your practice, both material and human. How has a continuity between them informed your work as a sculptor, poet and novelist?

Travel has helped to shape how you see the world. What advice would you give a young artist looking to broaden their horizons? You can’t travel like I travelled 50 years ago. I was in Egypt alone. There were no tours and only Egyptians. You cannot do that anymore and it’s hard to travel to places and really feel like you’re alone, or that you are engaging with the people of the country. The only thing I can tell young artists is even though they are going to run into all kinds of tourists, they ought to go. They should go as far away as they can to allow a chance to understand their own position in the world and have appreciation for the rest of the world, because Western civilisation isn’t all that there is. How are you engaging with current debates around the return of nonWestern artefacts in museums, particularly the Benin Bronzes, given that you work with this loaded and historic material? My current show at the Serpentine has come at a good time for debate, not just for younger audiences but also wider communities who are realising that while European art is historic, it belongs not only to Europe but to the rest of the world. Certainly, it belongs to the brown and Black cultures of the world. The West has been taking from other cultures for centuries, so this disruption that’s happening is a very good thing. It puts people in their rightful places and opens up a world that is much vaster than it was, say, 50 years ago. • Barbara Chase-Riboud: Infinite Folds, Serpentine North Gallery, until 29 January 2023

Above: Confessions for Myself (1972) is constructed from black patinated bronze and wool. Left: Walking Angel (1962) is the earliest work in the show and demonstrates Chase-Riboud’s experimental approach to casting

VISION AND VIRTUE ϴͳϭϱKdKZϮϬϮϮ MIQUEL BARCELÓ TONY BEVAN YOAN CAPOTE ROB AND NICK CARTER AWOL ERIZKU CANDIDA HÖFER ROBERT INDIANA

CLAUDE LALANNE VIK MUNIZ JOSÉ PARLÁ ENOC PEREZ ENA SWANSEA HANK WILLIS THOMAS GAVIN TURK

BEN BROWN FINE ARTS

ROSSY DE PALMA © GORKA POSTIGO

Yoan Capote, Requiem (Imponderable), 2022 (detail)

CONFESSIONS FOR MYSELF: SIBILA SAVAGE PHOTOGRAPHY; © BARBARA CHASE-RIBOUD. WALKING ANGEL: © BARBARA CHASE-RIBOUD

There is also the question of hybridity in your process and work. I am curious about how you found your own voice within the formality of sculptural tradition and in rejecting that to think of sculpture anew. The intellectual part came because of the manual part. If I were unable to manipulate the wax the way I do, there would be no work, meaning that the technique here is the message. I learned how to cast in wax in the 1950s from Italian workers in a little foundry. I had an incredibly good grounding in what I could do, what I could not do, and what I was going to do myself.

It is not only a question of memory and history in my work, but it is also a question of poetry and how all three come together at the same time. The historic aspect took over early on and influenced my whole attitude towards art, poetry and literature, because I am also an accidental historian, which happened in the middle of my career. It was only after I had discovered this enormous plane of the historical that I took this material and brought it back to sculpture. When I started my series, The Malcolm X Steles (1969), I was already at the point that I was making history and not sculpture.

10-13 NOV 2022 GRAND PALAIS éPHéMèRE Organised by

Official Partners

C L A R I D G E’S A R T S PA C E | LO N D O N | B R O O K’S M E W S | W1K 4D Z TAN_capote.indd 1

04/10/2022 13:21:04 cdf220400213_ap_vo_rossy_art_newspaper_uk_PP22_128x184_gb.indd 1

04/10/2022 15:39

1LFN&DYHbSoundsuitb̥̣̤̣,QVWDOODWLRQYLHZRIbIn the Black Fantastic+D\ZDUG*DOOHU\̥̣̥̥3KRWR=HLQDE%DWFKHORU

Art week, every day.

Bloomberg Connects is where art meets any place. An app that puts over 100 arts and cultural

LQVWLWXWLRQVDW\RXUɡQJHUWLSVIRU ULFKHUH[SHULHQFHVWKHUHDWKRPH or anywhere. Download now.

17

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

WHAT’S ON Frieze week ○ Museums and

public galleries 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

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 CÉZANNE: © AMGUEDDFA CYMRU—NATIONAL MUSEUM WALES

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

Cézanne was a frequent visitor to the landscape shown in The François Zola Dam (Mountains in Provence) (1877-78), on loan to Tate Modern from National Museum Wales

Provence holds the heart of ‘artist’s artist’ Tate Modern’s Cézanne show—the largest in the UK in more than 25 years—includes rarely seen works Cezanne Tate Modern, London UNTIL 12 MARCH 2023

Although Paul Cézanne (1839-1906) spent nearly half his life in and around Paris, his heart always remained in Provence. He once wrote of “the links that bind me to this old native soil, so vibrant, so austere”. This new exhibition emphasises the inspiration he found in the landscapes around his birthplace, Aix-en-Provence. Provençal themes constantly recur in Cézanne’s work: the grounds of the family home known as the Jas de Bouffan; his studio in what was then the outskirts of Aix at Les Lauves; the abandoned quarry of Bibémus with its dramatic rock formations; and, most importantly, distant views of the limestone crest of Mont Sainte-Victoire. The London exhibition has secured international loans of seven Sainte-Victoire oil paintings, from museums in

Paris, Basel, Baltimore, Detroit, Minneapolis, Philadelphia and Washington, DC. Tate Modern’s Cezanne (Tate has dropped the accent to reflect the original Provençal spelling) is the biggest show of the artist’s work in the UK for more than a quarter of a century, with 65 oil paintings and 17 works on paper. This follows its presentation at the Art Institute of Chicago, where it attracted around 190,000 visitors. Along with museum loans there are nine rarely seen paintings from private collections. Two come from a Derbyshire collector, Portrait of the Artist’s Son (1881-82) and a late, possibly unfinished work, Mont Sainte-Victoire seen from Les Lauves (around 1904). Among other private loans is L’Estaque with Red Roofs (1883-85), which sold for $55.3m at Christie’s last year. Scientific work, particularly on the Cézannes in the collection of the Art Institute of Chicago,

has been revealing. Conservators there removed discoloured varnish from its oil paintings, leaving their surfaces bare, as the artist preferred.  In Chicago’s still-life, The Basket of Apples (around 1893), Cézanne uses colour to both create and break the sense of illusion. With infrared reflectography, conservators were able to look under the paint surface to see how the artist developed his composition. Similar investigations were conducted on Tate’s paintings.

“Fellow artists were the first to recognise the value of his approach to colour” Frances Morris, Tate Modern

One surprise is how many of the works were once owned by fellow artists. These early collectors included Caillebotte, Degas, Gauguin, Matisse, Monet, Picasso and Pissarro. Monet, who once had 14 oil paintings by Cézanne, described him as “the greatest of us all”. Picasso, who spoke of Cézanne in similar terms, bought a plot of land on the slope of Sainte-Victoire to be closer to what the Tate curator Natalia Sidlina calls “his spiritual ancestor”. Even today, Cézanne remains an “artist’s artist”. Among the lenders to Tate is the Abstract Expressionist Jasper Johns, who is providing three watercolours. As Tate Modern’s director, Frances Morris, explains: “Fellow artists were the first to recognise the value of his iconic and, at the time, seemingly unsophisticated, approach to colour, technique and materials”. She promises the show will “revisit and revitalise Cézanne’s legacy”. Martin Bailey

 CONTINUED ON PAGE 18

THE NEW EXHIBITION FOR A COLLABORATIVE ART MARKET

MAY 10 - 13, 2023 CHELSEA, NEW YORK @FUTUREFAIRS FUTUREFAIRS.COM

18

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

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

Are you sitting comfortably? Auerbach will begin

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

Frank Auerbach: The Sitters Piano Nobile, 96-129 Portland Road, Holland Park, W11 4LW UNTIL 16 DECMBER

This show is the first dedicated overview of the German-British painter Frank Auerbach’s portrait heads and includes more than 40 paintings and drawings, ranging from 1956 to 2020. The exhibition explores the special connection between Auerbach and his sitters— the models attending weekly sessions over months, years and decades. Auerbach has said of his paintings that they should meet two criteria: the picture has to be new and it has to be true, seeming both “unfamiliar and crazy” and “banally and obviously like the subject”. Seb Summers

Piano Nobile’s exhibition charts Frank Auerbach’s connection with his sitters across more than five decades • 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

Mazzoleni

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

Ben Brown Fine Art

Hamiltons Gallery

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

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

Carl Kostyal

Hauser & Wirth

Central

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

Nahmad Projects

Alice Black

Castor

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

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

No.9 Cork Street

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

Alison Jacques

Colnaghi

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

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

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

Somerset House Studios

Amanda Wilkinson

Cristea Roberts

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

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

Huxley-Parlour, Maddox St

Ordovas

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

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

South London Gallery

Annely Juda

Josh Lilley

Pace

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

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

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

LGDR

Phillida Reid

Sprüth Magers

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

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

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

Lisson Gallery, Lisson St

Pilar Corrias

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

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

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

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

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

Galerie Max Hetzler

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

Hurvin Anderson’s Welcome: Revisited (2022) is being offered at Sotheby’s to benefit London’s ICA

Hollybush Gardens

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

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

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

Michael Werner 22 Upper Brook Street, W1K 7PZ • Andy Robert UNTIL 4 NOVEMBER 2 Cork Street, W1S 3LB • Antoni Tàpies: Alchemy UNTIL 9 DECEMBER

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

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

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

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

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

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

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

Somers Gallery

Stephen Friedman

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

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

FRANK AUERBACH: PHOTO: DAVID OWENS, COURTESY PIANO NOBILE. HURVIN ANDERSON: COURTESY SOTHEBY’S

 CONTINUED FROM PAGE 17

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 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

A block sculpture coffee table by the French designer Jean Yves Lanvin features on Portuondo’s stand at PAD London Design + Art fair

Tabula Rasa Gallery

UNTIL 18 NOVEMBER

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

Cooke Latham

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

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

Flowers, Kingsland Rd

Victoria Miro

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

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

Guts Gallery

○ Galleries:

North

Hales

Cob Gallery

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

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

Kate Macgarry

No 20

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

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

Maureen Paley

OOF Gallery

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

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

Mother’s Tankstation

The Room London

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

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

New Art Projects

Nicoletti Contemporary 12a Vyner Street, E2 9DG • Gaëlle Choisne: Blue Lights in the Basement UNTIL 10 NOVEMBER

PUBLIC Gallery 91 Middlesex Street, E1 7DA • Group Show: Fire Sermon UNTIL 5 NOVEMBER

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

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

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

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

Queercircle

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

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

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

○ Galleries:

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

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

Cecilia Brunson Projects Royal Oak Yard, SE1 3GD • Manuela Ribadeneira and Sheroanawe Hakihiiwe

Soames Walk, SE10 0BN • Bones Tan Jones: Tunnel Visions UNTIL 21 DECEMBER

Seen Fifteen Copeland Park, SE15 3SN • Audrey Gillespie: Troubles Generation UNTIL 29 OCTOBER

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

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

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

The Sunday Painter 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

JEAN YVES LANVIN TABLE: COURTESY OF PORTUONDO LONDON

Fairs 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

Somerset House, Strand, WC2R 1LA 13-16 OCTOBER

The Truman Brewery, Brick Lane, E1 6QR 13-16 OCTOBER

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

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

Piano Nobile 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

Frieze Week Offer // Save 50% on Complete & Digital subscriptions Go to theartnewspaper.com/subscription-offers, select your package & enter the code FRIEZE22

Digital Only Subscription

Complete Subscription

Full access to every article ever published on theartnewspaper.com

All the benefits of a Digital Only Subscription

The Art Newspaper’s iOS and Android app

Plus, every issue of The Art Newspaper delivered directly to your doorstep (11 issues per year, July/August is combined)

Enter code FRIEZE22

Enter code FRIEZE22

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

21

NEWS Frieze Week Major galleries sign Venice Biennale artists and activists

SONIA BOYCE: PHOTO: BEN WESTOBY; COURTESY OF THE ARTIST AND SIMON LEE GALLERY

 CONTINUED FROM PAGE 1 coherent story of myself, my work and of Africa,” the artist says. “There is a tendency for galleries to tell a story that serves their best interests rather than their artists’.” Representation and context is key, Kerunen says: “When you go through Frieze London, how many works shown at these major galleries do you see by an African using Indigenous practices?” Equally crucial are the terms of her signing, which include clear rules she has established to “protect her mental health”, such as a limit to her rate of production. “It’s quite unprecedented in these galleries. It’s a new language we’re creating,” she says. Pace is showing a large wall sculpture by Kerunen created from banana fibre, raffia, reeds and palm leaves. Priced at $90,000, it is currently on reserve to a museum. Older female artists who have been without gallery representation are being found through other platforms, too—most notably, via Instagram. Anne Rothenstein, who recently joined Stephen Friedman Gallery, was discovered on Instagram by the art historian and broadcaster Katy Hessel, who introduced her to the gallery. Rothenstein’s solo show at the gallery is sold out. (Prices range from £40,000-£75,000.) Rothenstein, now in her 70s, has been a painter all her life but only began to embrace her career five years ago, according to gallery director Jon Horrocks. “Before that, she gave her life

to being a mother and a wife,” he says. Another recent recruit is showing in Stephen Friedman’s other London space: Caroline Coon, an activist, journalist and one-time manager of the rock band The Clash, who is also in her 70s. For a time, Coon supported her artistic practice as a sex worker. Horrocks says: “She wanted to work with galleries, but they wouldn’t touch her with a bargepole. When she studied at Central St Martins [in the mid-1960s], figuration wasn’t popular, plus she’s a staunch feminist, which perhaps wasn’t as palatable.” As a result, the majority of Coon’s work has never been seen before—all but one of the paintings on show in London have been hidden away in her studio, some of them since the late 1990s. Priced at £75,000 each, the canvases, of everyday life in west London, have all found

Sonia Boyce’s show, Just for the Record, at Simon Lee Gallery; the exhibition is the artist’s first with the gallery, which she joined last year Of the 47 artists listed on Simon Lee’s website, 16 are women. Of Goodman Gallery’s 48 artists, 16 are women. Pace represents 123 artists, 33 of them women; while, at Stephen Friedman, 13 out of 35 artists are women.

“There is a tendency for galleries to tell a story that serves their best interests rather than their artists’”

Consistently devalued

Acaye Kerunen, artist homes—mainly with US collectors. While such additions to dealers’ rosters go some way to redressing longstanding imbalances in the market, which are being challenged by movements such as #MeToo or #BlackLivesMatter, there are still huge discrepancies across the majority of galleries—both in terms of representation and prices. 

The price gap is more difficult to gauge in the primary market—though, anecdotally, women’s art is consistently devalued compared with men’s. A recent survey of secondary market auction prices found that for every £1 a male artist earns for his work, a woman earns just 10p. Of the pricing at Stephen Friedman Gallery, Horrocks says gender is never a consideration; rather, they look at “quality and rarity of value”. When it comes to Rothenstein and Coon, he

adds: “We are trying to give them the recognition and respect they deserve.” Pricing Kerunen’s work, meanwhile, is veering into newer territory. Marc Glimcher, Pace’s president and chief executive, says the artist “takes an active role in everything”, including pricing. “It’s all about sustainability and the amount of pressure you put on production,” he says, adding: “Artist representation is more complicated than it’s ever been. We’ve seen a lot of artist agencies pop up in the last year, functioning as managers and agents.” Not everyone is convinced by the emerging model, however. Ellie Pennick, the founder of London’s Guts Gallery, which champions under-represented voices, says: “You can reform the industry from inside, but to what extent I’m not sure.”

roy.ac/artsales

Start your art collection at the RA Acquire one-of-a-kind and limited edition works, featuring Royal Academicians and invited artists throughout the year.

Rose Wylie OBE RA

Sir Frank Bowling OBE RA

Discover RA Editions

1 Sir Frank Bowling OBE RA, Octoberbloom II, 2022 © Sir Frank Bowling OBE RA

2 Rose Wylie OBE RA, American History 2019, 2020 © Rose Wylie OBE RA

3 Yinka Shonibare CBE RA, Queuing at the RA, 2021 © Yinka Shonibare CBE RA

Yinka Shonibare CBE RA

Meanwhile, KJ Freeman, the owner of HOUSING Gallery in New York, describes Pace’s representation of Kerunen as an “example of neoliberalism”. She points out the inherent contradictions of a blue-chip gallery working with politically engaged artists. “I think it may be impossible for mega-galleries to embody a pure activist spirit—it would be a contradiction of their practice, and the very clients they have,” she says. Nonetheless, she concedes, “There’s nothing wrong with what Pace is doing because they are a multi-million dollar gallery empowering Acaye. That alone should be where their activism begins and ends. To expect more from them would be to transform the very nature of a blue-chip gallery.” Anny Shaw with additional reporting by Kabir Jhala

22

THE ART NEWSPAPER FRIEZE FAIR EDITION 15-16 OCTOBER 2022

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

If money were no object, what would be your dream purchase? Most probably a work by Frida Kahlo— for my love of Mexico, of Mexican craft and lifestyle, and my passion for Surrealism. She was fiercely independent and original—such a brilliant and visionary artist.  Which work do you regret not buying when you had the chance? For a while I kept as the screensaver on my phone an image of a beautiful Sonia Delaunay that I hadn’t been bold enough to chase at an auction. She is an artist I greatly admire and who has been hugely influential to many of the Latin American artists I collect. I have since found a very special piece by her at a gallery in Paris… 

Catherine Petitgas

T

he London-based patron, collector and art historian Catherine Petitgas has built a collection centred on Modern and contemporary female artists and artists from Latin America, particularly Mexico, where she has a home. French by birth, she is a committed supporter of museums and cultural non-profits in both London and Paris. She chairs the board at Gasworks, which provides space for emerging artists, as well as the Friends of Aware (Archives of Women Artists, Research and Exhibitions). Founded by Camille Morineau, the curator of the all-female Spotlight section of Frieze Masters this year, Aware aims to improve the visibility of 19th- and 20th-century women artists. Petitgas also sits on the board of Les Amis du Centre Pompidou, chairs Tate’s International Council and is a member of its Latin American acquisitions committee.

THE ART NEWSPAPER: What was the first work you bought? CATHERINE PETITGAS: A piece by Francis Alÿs entitled 61 out of 60 from 1998-99. It is made up of 60 plaster models of Zapatista soldiers from Chiapas, Mexico. Each figure is broken up and glued back together except for a small fragment that makes up a 61st soldier. It is a playful but poignant reminder of the violence of war that remains painfully relevant today. What was your most recent purchase? L’homme aux masques from 1949 by Leonor Fini. This is an intriguing halffinished portrait of an intense young man by one of the most captivating figures of the Surrealist movement. She was one of the most blatant missing links in the collection of Surrealist women artists I started nearly 15 years ago. I had been looking for a work by her for years but I missed

a few, wasn’t convinced by others, and then just fell in love with this piece. I was so happy when it seemed to be a bit under the radar at auction last June, and I was able to add it to the collection.  If your house was on fire, which work would you save? Such a cruel question—it would be a torture for me to have to choose just one of my favourite works! But because it would have to be small and easy to carry in a rush I would grab Katchina Coquette from 1954 by Dorothea Tanning. This is a caricature of the great collector Peggy Guggenheim, whose ex-husband’s [Max Ernst’s] new wife Tanning then was. She portrays Guggenheim as one of her cherished Lhasa Apso dogs, against an exquisite moonlit Arizona landscape. It has all the drama and the humour of the Surrealist set in one image and I love

A podcast by The Art Newspaper

What is the most surprising place you have displayed a work?  Right above the toilet in the main guest powder room at home hangs a 2006 piece by the wonderful Brazilian artist Rosângela Rennó from her series The Last Photo. It consists of an ethereal photograph of Rio’s famous Corcovado Christ taken with a Penguin Eight20 camera that was then blocked off. The camera is displayed next to the photograph and points directly at the viewer. Male guests apparently find it rather disturbing. Which artists, dead or alive, would you invite to your dream dinner party? Because I am so hooked on Surrealism, it would have to be a gathering of all the strong-willed, irreverent, funny, beautiful women of the movement, especially Leonora Carrington, Lee Miller, Leonor Fini, Nusch Éluard and Ithell Colquhoun. They were all well versed in occultism and spiritualism and they must be having a ball from wherever they are looking down on the extraordinary revival—or rather the long-overdue reappraisal—of their work. They would make the most entertaining and challenging dinner companions.  What’s the best collecting advice you’ve been given? Be bolder! Choose fewer but more important pieces rather than scores of smaller works—a piece of advice I wish I had followed sooner. Have you bought an NFT? I’m still considering it, but getting closer. At the right time, and at the right price!  Interview by Joanna Moorhead

THE ART NEWSPAPER Frieze Art Fair editions THE ART NEWSPAPER Editor, The Art Newspaper Alison Cole Acting deputy editor Gareth Harris Managing editor Louis Jebb

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.

Subscribe online at theartnewspaper.com @theartnewspaper @theartnewspaper @theartnewspaper.official

NEW EPISODE

The Week in Art Photo (detail): Ben Luke

Economic crisis // Is the art market still booming? Artist interview // Cecilia Vicuña Women artists // Spotlight at Frieze Masters Work of the Week // Modigliani at the Barnes Foundation

SPONSORED BY

Listen wherever you get your podcasts

PETITGAS: COURTESY OF CATHERINE PETITGAS

dogs! Looking at this work always puts me in a good mood.

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

HANS BELLMER. La Poupée. Paris, G.L.M., 1936 First edition in French. Paul Éluard’s copy, inscribed by Bellmer, with an additional original vintage photograph and an original drawing. €30,000 - 40,000 ©Adagp, Paris, 2022

Auction | Private Sales | christies.com

Until 2 January 2023 Somerset Orbits and Gravity (detail), 2009, etching, watercolour, ink and pencil on paper, 14 × 24.1 cm / 5 ½ × 9 ½ in © The Easton Foundation / Licensed by VAGA at ARS, NY and DACS, London 2022. Photo: Peter Butler