THE ART NEWSPAPER|FRIEZE ART FAIR|3 OCTOBER 2018
SPECIAL ARTISTS’ EDITION
Grayson Perry: the art
fair as a rite of passage
Fresh from the success
of his Channel 4 series
Rites of Passage, the
artist tackles the art fair
M
y first art fair was
at Olympia in west
London in 1986, which
was a seemingly
innocent
occasion
compared
with nowadays; closer to the
village hall than to Art Basel. I was
showing with James Birch, who
loaded his entire stand into a
borrowed Citroën 2CV, with the
shelves sticking out of the top.
I was an innocent: I went to art
school without ever having been
to a contemporary art gallery, and
I entered the fray of the market
without knowing much about it.
It’s always been my practice to learn on
the job. Showing at a fair just seemed
like another thing that you do.
It was when my work was
Our artist
takeover:
letter from
the editors
By Julia Michalska and Emily
Sharpe, co-editors of The Art
Newspaper’s Frieze dailies
THEA RT NEWSPAPER .COM
The art world would not
exist without artists: most
of us are at Frieze this
week to buy, sell, enjoy, analyse
and promote artists’ works. But
how do artists view the art world?
What do they care about? We
wanted to find out.
So we handed over our
publication to 14 artists, who, over
the course of a few weeks, took
our places and our keyboards to
create a special edition of The Art
Newspaper’s fair dailies.
At this year’s edition of Frieze,
the fair’s organisers are marking
/ DOWN LOA D T HE F RE E DAI LY APP
ISSUE 1|FREE EVERY DAY
MASTHEAD
BY
LAURE
PROUVOST
shown at Frieze with Victoria Miro in around
2004 that I really began to understand the poten- Laure Prouvost took inspiration for her
tial and growing significance of art fairs. My two
pots sold straight away, and I remember the
design from her grandmother. “Grand ma
used to keep all The Art Newspaper to either
instantaneousness of it—bang, the work goes up,
it’s sold and replaced by something else. There put inside her coat to keep warm or to start
is something incredibly naked about that transac-
tion compared with a gallery show, where you at
a fire in the home chimney breast,” she says.
For her Frieze Live project, an opera singer
least get the set-dressing that you’re putting on a will perform conversations overheard at
cultural event. At a fair, you might want things to
the fair. A new tapestry called Ahead of Us
look nice, but it’s a shop—a souk.
Because of the nakedness and the speed (2018) and her film DIT LEARN (2017) are
of fairs, they are an opportunity for artists to with Lisson Gallery at Frieze London.
embrace the commercial side and to find
out if they’re uncomfortable with it
and whether they want to know
about it. For me, it’s a fascinat-
INSIDE
ing piece of anthropology to
wander round the pre-, pre-, DAVID SHRIGLEY
pre-opening, where you’re The UK satirist has designed an alternative
confronted with the celebri- front page to rival our own. More of his
ties and the world’s super- newspaper headlines can be found at Frieze
rich. Some [artists]—whom I London on Stephen Friedman’s stand.
MASTHEAD: © LAURE PROUVOST; COURTESY OF LISSON GALLERY. PERRY: © NICK CUNARD/REX/SHUTTERSTOCK. SHRIGLEY: © DAVID SHRIGLEY; COURTESY OF STEPHEN FRIEDMAN GALLERY
won’t call high-minded, but
perhaps more intellectually
orthodox—might struggle with
it; they are making art about
serious issues only to find that
their political statements have noughts
on the end.
CONTINUED ON PAGE 2 
100 years since women were “This issue proves
first given the right to vote in
the UK. But like other industries, that artists can be
the art world still has a long way journalists too”
to go before gender equality is
achieved. This week, you will asked four female artists—Laure
find far fewer female artists than
male in London’s galleries and
Prouvost, Yayoi Kusama, Chiharu
Shiota and Rachel Maclean—to
museums, and, on average, their
works will be less expensive than
redesign our masthead, the most
prominent space we have available. PLUS
those by male artists at the fair
and at this week’s auctions.
It has been said that everyone
is an artist. This issue proves that
every artist can be a journalist,
Elmgreen & Dragset solve your art-world
problems, Pierre Huyghe quizzes Hans
As our small contribution to Ulrich Obrist, Paul Kindersley does your
current attempts to level the too. But heaven help us if an artist make-up, Tania Bruguera explains how to
playing field, and to mark the ever asked The Art Newspaper fill the Turbine Hall, and much more…
centenary of women’s suffrage, we team to pick up a paint brush.
/ @ T HE ART N EW SPAPE R / @ THE ARTNE WSPAPE R . OFFICIAL
ARP FONTANA FRIEZE MASTERS
BOETTI RUSCHA BOOTH H1
BURRI SCHIFANO
CÉSAR WARHOL
CALDER WEST
 2 THE ART NEWSPAPER FRIEZE ART FAIR
NEWS
Artist takeover
The Artist Newspaper team
The famous faces behind our first daily edition at this year’s Frieze
Rana Begum Tania Bruguera
“Instagrammer” “Art critic”
Yayoi Kusama Michael Landy
“Art director-at-large” “Market writer”
Grayson Perry:
the art fair as a
rite of passage
 CONTINUED FROM PAGE 1
I think it was [the artist] Peter Doig
who said that going into an auction
was like watching your parents have
sex. In that case, going to an art fair
might be like going to an orgy when
your parents happen to be at it! I’m
fascinated by the sociology of the
art world; it’s grist to my mill, so I
embrace it. At a fair, the art looks like
a film director has phoned the props
department and said: “Can I have a
tent full of art because I’m shooting
an art-fair scene?” All the works look
like that, even when it’s great art. It
reminds you how much a lot of art
depends on the white cube—not just
Shezad Dawood Elmgreen & Dragset
“Columnist” “Agony uncles”
Rachel Maclean Grayson Perry
“Art director-at-large” “Chief contributor”
the aesthetics of it, but also the rever-
ence of it. Some art fails dismally, some
thrives. I hope I make artefacts that
bring their own context with them, to
a certain extent—everybody knows a
pot is a pot is a pot.
But fairs also try to cling to bohemia
with the back-street bits featuring the
younger, hipper galleries—areas where
we might see dangerous creativity.
They are even trying to package that
within the market. I had a conversation
with [the retail expert] Mary Portas
in John Lewis in which she said: “You
see that really wacky sofa made out of
patchwork? Nobody’s going to buy that
in John Lewis, but they want to come
to a shop that has it—and then they’ll
buy a beige sofa.” It’s the same with
fairs: people come to see a spectacular
piece of performance art that really
shocks them, but then buy a Jeff Koons.
There is always video and performance
art because the art fair is not just a
market: it is a networking thing, it is
ARTISTS’ EDITION 3 OCTOBER 2018
Zeng Fanzhi Pierre Huyghe
“Man about town” “Contemporary art
correspondent”
Laure Prouvost Chiharu Shiota
“Art director-at-large” “Art director-at-large”
the village show. You look at the prize
vegetables, but you also want to see the
country dancing.
There are now probably collectors
whose experience of art is more shaped
by going to fairs than to museums.
International jet-setters wouldn’t neces-
sarily go to events like Documenta; their
experience of art is going to Art Basel in
Miami Beach and in Hong Kong. There
is also art-fair art. I don’t know if I fall
into that [category], but there are many
shiny things at fairs that are luscious
and that you want to touch.  to Frieze and it’s like the motor show,
I’ve got a solo stand at Fiac in Paris
[18-21 October] and I like experiencing
those steps towards the establishment:
to look around, feel what they feel like
and think, we can have fun here! It’s
power, and it’s money, and it gives you
access to different networks. If I have
a good sale or some publicity, I sense
the interest around me when the
tanned and bejewelled people start
sniffing around.
Rana Begum with her wo
Sculpture. See her posts
on our Instagram accoun
Paul Kindersley
“Stylist”
David Shrigley
“Centrefold guy”
“You look at the prize
vegetables, but you
also want to see the
country dancing”
Artists can’t avoid looking at the
market and you can’t pretend that an
art fair is just a cultural event. You go
and that’s why I feel slightly uncom-
fortable that people have to pay to go.
It’s like when I go to the motor show
and think: “Hang on, I’m paying a
tenner to go to a shop.” I embrace the
market aspect with a wry smile; I’m
quite happy with it. I’ll laugh all the
way to the bank.
As told to Louisa Buck
• Grayson Perry: Rites of Passage,
Channel 4 on Demand
INSTAGRAM
TAKE OVER
rk in Frieze
from the fair
t today
BEFORE FRIEZE HAD even opened,
Rana Begum’s work was already an
Instagram hit. The Bangladeshi-British
artist’s No. 814 (2018), part of Frieze
Sculpture (until 7 October), has been
BEGUM WITH SCULPTURE: KATE MACGARRY. BEGUM PORTRAIT: MAISHA HOSSAIN. BRUGUERA: © CLAUDIO FUENTES. DAWOOD: © BART SIENKIEWICZ. ELMGREEN & DRAGSET: ELMAR VESTNER. ZENG: PHOTO: LI ZHENHUA LIFE; © ZENG FANZHI. HUYGHE: © OLA RINDEL. KUSAMA: MINISTRY OF EDUCATION, CULTURE
casting shadows on Regent’s Park’s
lawns—and providing the perfect
AND SPORTS, JAPAN. LANDY: BENEDIKT FRANK. MACLEAN: © DAVID BEBBER. PERRY: COURTESY OF THE ARTIST AND VICTORIA MIRO, LONDON; © GRAYSON PERRY. PROUVOST: PHOTO: GENE PITTMAN; COURTESY OF LAURE PROUVOST AND THE WALKER ART CENTER, MINNEAPOLIS. SHRIGLEY: © ANDY MIAH
backdrop for selfie-snapping passers-by.
For one day only, the avid ‘grammer
(@RanaBegumStudio), who documents
her ideas online like a digital sketchbook,
will be posting whatever catches her
eye at Frieze London on our Instagram
account. See her works at The Third Line,
Dubai, and Kate MacGarry, London—and
follow her @theartnewspaper.official
#TANxRanaBegum today. T.A.N.
STOP PRESS
Brooklyn Museum chief
joins #MeToo debate
ANNE PASTERNAK, THE director of
the Brooklyn Museum, New York, has
joined the #MeToo debate in light of the
allegations of sexual misconduct made
against the US Supreme Court nominee
Brett Kavanaugh by professor Christine
Blasey Ford. Pasternak posted earlier
this week on Instagram: “I have been
sexually assaulted numerous times,
from my teenage years to adulthood.
Watching this week’s travesty against
decency has been painful.” Pasternak
tells The Art Newspaper that “it is time
culture leaders in the US take a stand”.
She is due to speak at a Frieze Masters
talk on 5 October. T.A.N.
Arbus and Attia shows
coming to the Hayward
A MAJOR EXHIBITION of early works
by the late US photographer Diane
Arbus is to go on show at London’s
Hayward Gallery. In the Beginning
(13 February-6 May 2019) will focus on
1956 to 1962—”a crucial period during
which she develops her idiosyncratic
style”, says the senior curator Vincent
Honoré. Due to run concurrently is the
first major UK survey of the Berlin-
based artist Kader Attia. T.A.N.
 HAUSER & WIRTH
ST. MORITZ
OPENING DECEMBER 2018

WITH INAUGURAL EXHIBITION

OF WORKS BY
LOUISE BOURGEOIS
E N G AD I N S T. M O R IT Z – VI E W F RO M VIA E N G IAD I NA

VIA SERLAS 22
ST. MORITZ
WWW.HAUSERWIRTH.COM
 4 THE ART NEWSPAPER FRIEZE ART FAIR
COMMENT
Shezad Dawood
The future
is virtual
I was on the fence about
virtual reality (VR) for years.
I was wary of it just being
another fad. But as the technology
advanced and I finally found the right
project, I was hooked.
The first piece I did was Kalimpong,
based on a town on the border between
India and Nepal in the Himalayas. The
Himalayas are the centre of esoteric
LEVIATHAN LEGACY: COURTESY OF TIMOTHY TAYLOR, LONDON. PORTRAIT: © SUE PARKHILL
Buddhism, which has explored the idea
of reality being an illusion (read: virtual)
for hundreds of years. This was an
interesting philosophical starting point
for addressing the medium.
Fifteen years of working with
experimental film and video gave me
a post-doc in VR before I even knew
it. I had been looking at non-linear
narratives, trying to break with ideas of
duration and fixed story lines for a long
time, so I was shocked at how naturally
these concepts translated into VR.
VR also reignited my engagement
with sculpture. When you are making
Billy Apple ®
The Artist Has to Live
Like Everybody Else
௅
Until 2 November 2018
THE
MAYOR
GALLERY
The first part of
Dawood’s new VR
piece, Leviathan
Legacy (2018), will
debut in Shanghai
a sculpture to be
3D-printed, you first create
a digital file that you can throw
into VR and watch your sculpture dance
or float. This creates a lot of possibilities
and raises questions around existence
that fascinate me. A lot of my work plays
on the boundaries between the esoteric,
the imaginary and histories both real
and fictional, so you can imagine what a
space for play that opened up for me.
The acceleration of technology is, of
course, a problem. You are constantly
playing catch up. It is meant to be an
immersive experience, so the slightest
glitch in VR wrecks it. The trouble-
shooting you have to do is immense.
But the developments have also
brought more artists to the arena, so you
21 Cork Street, First Floor
London W1S 3LZ
Tel: +44 (0)20 7734 3558
www.mayorgallery.com
ARTISTS’ EDITION 3 OCTOBER 2018
have to work three times harder. I am
working on a new VR, Leviathan Legacy,
the first part of which will premiere at
the West Bund Art and Design fair in
Shanghai (8-11 November). It imagines
the future of the oceans in 150 years. But
oh my god, the amount of work
we have put into it! With
Kalimpong, I had a level
of naivety because I
was not comparing
myself to anyone.
Now I am
working day and
night, because
this next one
needs to be just as
groundbreaking and
successful. It is almost
like second-album
trauma, where you get
caught up in crazy self-referen-
tial prog-rock stylings.
A major conversation around the
use of VR is how to get past its solitary
nature. Multi-player or shared online
experiences are options, but both
require more data and greater process-
ing power. As computers become more
advanced, VR will also become less iso-
lating. Some works might even bypass
the museum or the gallery altogether. It
could provide a whole other distribution
network and audience base, which is
exciting because artists always want to
get their works out to more people.
Staging is important with VR.
I believe it should be part of an
Stand D11
Aluminium Reliefs 1965–68
The Art
Newspaper
PODCAST
in association with
“It is like second-
album trauma,
where you get
caught up in crazy
self-referential
prog-rock stylings”
installation. When Kalimpong was
shown for the first time at Timothy
Taylor Gallery in 2016, my paintings
were out front and the VR was in the
back room. The door would open,
somebody would come out looking
bewildered and somebody else went in
with anticipation.
I like to see VR as being in a sympa-
thetic relationship with my other work
rather than an either/or. When you have Conversation and debate
a physical work that complements or from inside the art world
even undermines the reality principle
going on in the VR, that is when you are Listen and subscribe
really talking. A new episode debuts every Friday via
What artists have to bring to VR that the usual podcast channels, including
pure film-makers and others do not is an
iTunes, TuneIn and SoundCloud. From a
understanding of how objects become
a totem or a fetish that points to a wider desktop or laptop, find the show at
reality; exactly what artists have been theartnewspaper.com/podcast
doing for thousands of years.
As told to Julia Michalska
• Browns x Shezad Dawood: an theartnewspaper.com
Immersive VR Experience, Browns East,
London, until 15 October ␣ 
8
THE
M AYOR
GA LLERY
New York – Chelsea Hong Kong London

Endless Enigma Oscar Murillo Kerry James Marshall

Eight Centuries of Fantastic Art the build-up of content History of Painting
12 September–27 October and information 2 October–10 November
19 September–3 November

Wolfgang Tillmans Gordon Matta-Clark

How likely is it that only I am Flavin, Judd, November/December
right in this matter? McCracken, Sandback
13 September–20 October 15 November–21 December

Diane Arbus
Untitled
2 November–15 December

Lisa Yuskavage
Babie Brood: Small Paintings
1985–2018
8 November–15 December

New York – Upper East Side

A Selection of
Works from
Galerie 1900-2000
12 September–27 October

Lisa Yuskavage
New Paintings
8 November–15 December

David Zwirner
 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018 7

INTERVIEW

Hans Ulrich Obrist:

secrets of a super-curator
The Serpentine Galleries’ artistic director reveals how he resists extinction and
argues that exhibitions must find new ways to connect. Interview by Pierre Huyghe

H
ans Ulrich Obrist, the artistic director of the
Serpentine Galleries, asks a lot of questions. Ever
since he published his first volume of interviews in
2004, hundreds of artists and cultural figures have
been on the receiving end of his interrogations. But
now, as the London institution hosts a major new
show by the French artist Pierre Huyghe (until 10
February), we turn the tables on the super-
ist
curator and let him face questioning by the artist
iting. Here is what
whose works he is exhibiting.
Huyghe was able to extract.
act.

PIERRE HUYGHE: Why do

you think you continue to
do what you do?
 HANS ULRICH OBRIST: I
believe in this idea of junc-
tion-making. We can only solve ve
some of the big challenges off
the 21st century if we go beyond
ond
the fear of pooling knowledge.
 I want to continue because it’s
urgent. It is a time of planetary
crisis. [The artist] Gustav Metzger
talked about extinction; not only the
biological extinction of our species
and our own demise, but also the
disappearance of cultural phenomena.
I want to resist extinction every day, Main image: Obrist (left) with Huyghe.
be that through exhibition-making or Above and below, posts from Obrist’s
through campaigning to save handwrit- Instagram campaign to save handwriting
ing on Instagram.
I am also driven by the importance What is the exhibition ritual in the
of memory. As [the British historian] 21st century?
Eric Hobsbawm always told me, we [The UK artist] Richard Hamilton
must protest against forgetting. taught me that exhibitions are rituals
Enabling emerging practitioners that invent a new rule of the game,
to stage their first exhibitions also and/or a new display feature. A ritual
makes me continue to do what I is a series of actions regularly followed
do; working with artists over many by someone, which brings us to DO
decades, while at the same time always IT. We did an exhibition made out of
being open to new discoveries such as instructions and how-to manuals that

artists like Sondra Perry, whose first
European museum show we organised
at the Serpentine.
What would be a reason to stop?
The answer is a quote from [the Scottish
artist] Douglas Gordon that became the
title of one of my books: DON’T STOP,
DON’T STOP, DON’T STOP.
If you could directly transmit what
you imagine to another mind, what
would that be? And in what
way specifically
would you transmit
your imagination?
I think it would have
to be hope and enthu-
siasm. As [the US poet
Ralph Waldo] Emerson
said: “Nothing great
has ever been achieved
without enthusiasm.”
PORTRAIT AND HUYGHE: COURTESY OF THE SERPENTINE GALLERIES. INSTAGRAM POSTS: HANS ULRICH OBRIST/INSTAGRAM
has been interpreted and reinterpreted
in 160 museums on all continents since
1993. More recently, it’s become part of
the curriculum of the high school stu-
dents in New York.
Hamilton’s friend, the architect
and urbanist Cedric Price who, with
[the British theatre director] Joan
Littlewood, invented The Fun Palace,
taught me that we need to go beyond
the exhibition as simply a visual ritual
and come up with more
complete and holistic
com
ritu
rituals that involve all
the senses. This was the
main focus of my exhi-
m
bi
bition A Stroll through
the Fun Palace, which
th
I curated for the Swiss
Pavilion at the 2014
P
Architecture Biennale.
CONTINUED ON PAGE 8 

THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART

19–22 SEPTEMBER 2019 CHICAGO | NAVY PIER
OPENING PREVIEW THURSDAY 19 SEPT
Presenting Sponsor
 8 THE ART NEWSPAPER FRIEZE ART FAIR
INTERVIEW
 CONTINUED FROM PAGE 7
At the Serpentine, we feel it’s
time for new experiments in art and
technology. This spring we showed
Ian Cheng, who used to work for you
Pierre. Ian’s show BOB opened up a
totally new ritual around an artificial
life-form whose AI modes can power its
behaviours for a whole lifetime. BOB
stands for Bag of Beliefs and is sentient.
It’s aware of you as the viewer, it can
interact with you and you can influence
its emotional life. It’s not interac-
tive art, it’s art with a nervous system.
Of all of the people you have
met, which of their ideas
have you found the most
stimulating in changing the way
that we are, in any field?
I have been inspired by so many
people. One example is the poet and
writer Édouard Glissant, whom I met
very regularly. He was my mentor and I
HUYGHE: COURTESY OF THE ARTIST AND THE SERPENTINE GALLERIES. PERRY: COURTESY OF THE SERPENTINE GALLERIES
think about him every day.
I find his “archipelagic thinking”
vital in this time of fragmentation when
we have to find new ways to think, to
create new forms of interconnected-
ness and a sense of co-dependence. As
he wrote: “Because, in the end, the idea
Sondra Perry’s show at the Serpentine
Sackler in 2018 was her first in Europe
ARTISTS’ EDITION 3 OCTOBER 2018
An installation
view of Huyghe’s
UUmwelt show,
which opens today
at the Serpentine
“Exhibitions are
rituals that invent
a new rule of the
game or a new
display feature”
[of an art institution] today is to bring
the world into contact with the world,
to bring some of the world’s places
into contact with other of the world’s
places… We must multiply the number
of worlds inside our art institutions.”    
What are some of your
unrealised ambitions?
To do a big exhibition of Unrealised
Projects. I have been archiving unre-
alised projects by artists and other
practitioners for many years. It is the
archive of Unbuilt Roads. It’s an incred-
ible archive that includes the utopic,
the forgotten and the censored; pro-
jects that lost public art competitions;
projects that were too big or too small
to realise. It also includes self-censored
projects, those that we don’t dare to
take forward, something that [the nov-
elist] Doris Lessing talked to me about.
I would also like to complete an
unfinished novel that I started when
I was 18…
My partially realised project is to
write and edit my diaries, but this
keeps being interrupted. Finally, my
unrealised show: I always dreamt of
doing a show with [the US artist]
David Hammons.
• Pierre Huyghe, Serpentine Galleries,
London, until 10 February
MNUCHIN GALLERY
FRIEZE MASTERS, LONDON | STAND C5
OCTOBER 4 – 7, 2018
45 EAST 78 ST, NEW YORK, NY 10075 | T: +1 212.861.0020 | MNUCHINGALLERY.COM
Bridget Riley, Java, 1983, oil on linen, 86 1/4 × 71 3/4 inches (219.1 × 182.2 cm)
 M U LT I P L E O P P O R T U N I T I E S

4 1 , 0 0 0 S Q F T O F G R O U N D A N D L O W E R G R O U N D S PA C E B E I N G C R E AT E D F O R G A L L E R I E S .
P U R P O S E B U I LT, M O S T E N J O Y B E I N G C O L U M N F R E E W I T H 4 M C E I L I N G H E I G H T S . AVA I L A B L E N O W .

CORKSTREETGALLERIES.COM

DAVI D RO S EN / S I M O N RI N D ER JAMES ANDREWS / RICHARD FLOOD

AT P I L C H E R H E R S H M A N AT K L M R E TA I L
+44 (0)20 7399 8600 +44 (0)20 7317 3700
R. Lefèvre, Portrait de P. N. Guérin ; H. de Triqueti, Icare, Orléans, Musée des Beaux-Arts, © François Laugnie ; H. Hartung, Composition, © Galerie de la Présidence, Paris.

The Fair for Drawing,

Painting and Sculpture

7-11 November 2018

SINCE

50
YEARS
1969

___ÅVMIZ\[XIZQ[KWU

1VXIZ\VMZ[PQX
with:
 Joan Mitchell 1925-1992
Perch and Twirl
signed ‘Joan Mitchell’ lower right
oil on canvas
258.4 x 179.7 cm (101 3⁄4 x 70 3⁄4 in.)
Painted in 1973.
Estimate £1,500,000 - 2,500,000
© Estate of Joan Mitchell.

20th Century & London, 4 & 5 October 2018

Contemporary Art Day Sale 4 October 2018

Evening & Day Sales Evening Sale 5 October 2018

Public viewing
28 September - 5 October 2018
at 30 Berkeley Square, London W1J 6EX

Enquiries
contemporaryartlondon@phillips.com
+44 20 7318 4050

phillips.com
 William Monk, Three Clouds, 2018

Frieze
STAND B4

4 – 7 October, 2018
Regent’s Park LONDON
 12 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018

COLLECTOR’S EYE

Karsten “Collectors in

Schubert
THE ART NEWSPAPER
their 60s and 70s Frieze Art Fair editions

who still go to EDITORIAL AND PRODUCTION

Editor (The Art Newspaper):
everything—you Alison Cole

think: “Guys, just

Co-editors (fair papers):
Julia Michalska, Emily Sharpe
Deputy editor: Hannah McGivern
relax a little” Production editor: Ria Hopkinson

The dealer and

nd Imagine I’m about to destroy your
Copy editors: Matt Barker, Tracey Beresford,
Andrew McIlwraith, Vivienne Riddoch,
Shanthi Sivanesan
collector tellss the artist whole collec
collection in my Art Bin at
London Gallery but you could
South Londo
Designers: Vici MacDonald, Bryan Mayes,
Anamaria Stanley

Michael Landy dyy which keep one pie

piece. What would it be?
It would be th
the early Mondrian
Photographer: David Owens
Picture editors: Katherine Hardy,
drawing of th
the tree along the river; it’s Aimee Dawson
work he would ld save in my bedroom.
bedroo Contributors: Georgina Adam, Anna Brady,
Louisa Buck, José da Silva, Aimee Dawson,

from the Art Bin If money wa

would be yo
was no object, what
your dream purchase?
Melanie Gerlis, Gareth Harris, Pablo Helguera,
Ben Luke, Hannah McGivern, Julia Michalska,
Cristina Ruiz, Emily Sharpe, Anny Shaw
A really great
great, abstract painting
Design and production (commercial):
by Mondrian
Mondrian. Daniela Hathaway

How do yyou like to buy art? DIRECTORS AND PUBLISHING

From a d dealer who knows what Publisher: Inna Bazhenova

T
he London-based you’re aafter, and offers you very Chairman: Anna Somers Cocks
or
dealer and collector specific things. In the past, Chief executive: Julie Sherborn
Karsten Schubert dealers would have asked ques- Management accountant:
met the UK artist about the buyer’s collec-
tions ab Evgenia Spellman
Michael Landy 30 tion. N
Now, on the whole, Accountant: Matha Murali
years ago, when they do
don’t. Associate publisher, fairs and events
Schubert visited his media: Stephanie Ollivier
Head of subscriptions and membership:
degree show at Goldsmiths. He signed ed Do you think that knowing James Greenwood
Landy up immediately, along with Gary the artist
artis alters the way you Head of sales (UK): Kath Boon
Hume. Schubert now holds the largest est see their work? Head of sales (the Americas):
collection of Landy’s work at around d 50 Yes, becaus
because you get a studio per- Kathleen Cullen
m
pieces. Here, the artist speaks to him spective. You become part of the Advertising sales director: Henrietta Bentall
about his motivations. process,
p
pro cess, have the privilege of seeing Marketing manager (the Americas):
things as they happen. It makes you Steven Kaminski
MICHAEL LANDY: How did you first because suddenly you have
nervous, beca Administrator/book-keeper (the Americas):
get into collecting? an emotional investment. I know col- Anthony Shao
KARSTEN SCHUBERT: I was about 12 lectors who d don’t want to meet the Digital development director:
ns,
years old when I began collecting coins, artist for that reason—it allows you to Mikhail Mendelevich
then Roman antiquities. I eventually move on with
without any pain. System administrator: Lucien Ntumba
tic
realised that if you want to get fantastic Office co-ordinator and customer
support: Margaret Brown
things, you have to collect contemporary
rary Can you havhave that same connection
art. It came through my grandmother— r— with younge
younger artists, as you do with
PUBLISHED BY U. ALLEMANDI
ed
she lived in a part of Berlin surrounded your own generation?
ge & CO. PUBLISHING LTD
by museums. It’s one thing looking att I think in you
your 20s and 30s, you are
works in a museum but a totally differ- r
r- very open. ThThen there comes a point UK OFFICE:
ent proposition to live with them. when you’re full up. I’m now 57, and T: +44 (0)20 3416 9000
occasionally I see a show of someone E: londonoffice@theartnewspaper.com
When did you first start collecting g in their late 2
20s and I just don’t US OFFICE:
my stuff ? feel particula
particularly engaged. It’s what T: +1 212 343 0727
I bought one of your tarpaulin workss happens—yo
happens—you can’t carry on being E: nyoffice@theartnewspaper.com
from your first show with us. engaged with everything. There are Printed by Elle Media Group, Basildon
certain collec
collectors in their 70s who still © The Art Newspaper Ltd, 2018
They have stopped making that go to everyth
everything and you just think: All rights reserved. No part of this newspaper may be reproduced
without written consent of the copyright proprietor. The Art
type of tarpaulin. Do you remember ber “Guys, just relax
re a little”. You grow up Newspaper is not responsible for statements expressed in the
which of my works you bought most ost with your owown people and you should signed articles and interviews. While every care is taken by the
recently? just stick with them. There was a publishers, the contents of advertisements are the responsibility
of the individual advertisers
I got one of your Breaking News draw-w
w- point, a few years
y ago, when everyone
ings. It says: “Keep Your Laws Out Off wanted the n next hot young thing. Now
My Vagina.” everyone wan
wants historic works. Subscribe online at
theartnewspaper.com
• Michael Landy’s
Land solo show, Scaled- @theartnewspaper
@theartnewspaper
Michael Landy (left) was signed by Down, is at Thomas
Th Dane Gallery,
@theartnewspaper.official
Karsten Schubert 30 years ago November
until 17 Novem

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FLOWERS THAT SPEAK ALL ABOUT MY HEART GIVEN TO THE SKY, 2018. Painted bronze. 228 x 232 x 186 cm, 89 3/4 x 91 3/8 x 73 1/4 in
Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © Yayoi Kusama

Ya yoi K us a m a
THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE
Victoria Miro | 16 Wharf Road · London N1 7RW | 3 October – 21 December 2018
THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018 Image: © David Shrigley; courtesy of Stephen Friedman Gallery
16 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018
2. STATEMENT BROWS
It is of the utmost importa
nce that even

HOW-TO GUIDE if you don’t comprehend

looking at, your brows are
what you’re
in a constant

Achieve
state of contemplation
and quizzical
interest that says, “I underst
and” (and
more importantly, “I have
the cash to follow
through”). Here I have cho
sen a Winsor &
Newton acrylic in Mars Blac

your
k; it is a univer-
sally adored paint and ver
y durable—every
artist’s secret weapon. Rem
COAT ember that
1. UNDER
brows are the last remaini
ng vestiges of our
be. ape ancestors’ non-verbal
e white cu communication
Become th rcel Marceau, methods, so do go large, and
a if you happen
Channel M panese

perfect
to have two, get them to exp
to h (t h e Ja ress different
b u and emotions, as I have here.
darkness”) ur
“dance of I fa v o
dman.
Tom Frie white base,
o
a Snazaro e school

Step 1
f th
a staple o dy Sherman
in
fête and C and ever so
e,

Frieze
clo w n s a lik
o n th e skin. For a
easy e, I recom
-
p ast
smooth w it h th e
ing
mend mix ve rival… but
lo
tears of a ry fizz works
nta
complime

face
ll.
just as we

in six easy steps Step 2

Make sure you
stand out from the 3. A SENSUAL LIP, OF CO
URSE
crowd at London’s Think of a plump Mae We
concrete hard edge and rem
st sofa. Ease off that ubiq
uitous polished
hottest art event. fixation underpins every
ind everyone that a Freudi
an oral

Step 3
work of art and transaction
I’ve gone for a pricey, but wel at the fair.
l worth the investment, YSL
By Paul Kindersley undercoat and Tesco Eve
à la Paul McCarthy. Think
ryday Value Tomato Ket
Rouge
chup lip line,
of your visage as an institut
show, incomplete without ional group
a nod to messy performanc
e.
• Paul Kindersley’s work is in the group show DRAG: Self-Portraits
and Body Politics at the Hayward Gallery, London, until 14 October
Valerio Adami, The Kiss, 1964, acrylic on canvas, 65 × 81 cm – © Valerio Adami by SIAE 2018

Paris Asian
Art Fair
17–21 October 2018
24P STUDIO
9 avenue Hoche, 8e
Teppei Kaneuji, White Discharge (Built-up Objects)#37, 2014 © courtesy Jane Lombard Gallery

313 Art Project

A2Z Art Gallery
A3
AMY LI GALLERY
Art’Loft/Lee-Bauwens Gallery
Art Seasons
Artvera’s Gallery
Beijing Commune
Chi-Wen Gallery
CHOI&LAGER Gallery
The Columns Gallery
C-Space+Local
COHJU Contemporary Art
The Container
Galerie DA-END
DANYSZ gallery
The Drawing Room
Fabien Fryns Fine Art
Finale Art File
Ginkgo Space
HdM Gallery
La Patinoire Royale – Galerie Valérie Bach
Leo Gallery
MadeIn Gallery
ValerioADAMI Galerie Maria Lund
FRIEZE MASTERS MORI YU GALLERY
New Galerie
BOOTH G14
Galerie Paris-Beijing
REGENT’S PARK, LONDON Pierre-Yves Caër Gallery
#asianow

Primo Marella Gallery & Primae Noctis Gallery

October 04 – 07, 2018 S.O.C. Satoko Oe Contemporary
Gallery SoSo
Gallery SU:
Talion Gallery
Tang Contemporary Art asianowparis.com
TOKYOITE
Tel. +39 02 294 0 43 73 Tong Gallery+Projects
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Vinyl on Vinyl
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INFO@GioMARCONI.COM
WWW.GioMARCONI.COM
 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018 17

4. THE PLINTH IS A
SO-OFTEN-OVERLOOKE
PART OF THE SCULPTURD
E…
So go for a bold neck, stra
ight from
the tube. Give them a refe
rence they
can handle. Go gestural! An
Abstract
Expressionist décolletag
e is very in this
season. Accentuate your
best bits in
acrylic—for me, that’s my
ears and Adam’s
apple, but feel free to exp
eriment. (And
remember, the makeup doe
sn’t end with
the face—a well-placed neo
n nipple can
do wonders for one’s street
cred.) I have
used a Joan Mitchell pale
tte of Liquitex in
cadmium yellow medium
hue, phthalocy-
anine blue (green shade) and

Step 4
dioxazine
purple. (#Top tip: If it is you
r first time
going for a hand-painted nec
k, maybe start
with a Pollock-inspired look
and work up
to a Mitchell.)

5. NEXT, COVER
YOURSELF IN
GOLD!
As we all know, from an
18-carat toilet for Donald

Step 6
in
Trump to a Rococo frame

ARTIST PHOTOS: © PAUL KINDERSLEY. WOODBOARD: TOPNTP26/FREEPIK. PINS: VVSTUDIO/FREEPIK

Frieze Ma ste rs, if it glitt ers,
à
it’s worth more. Contouring
still
la the Kardashian clan is
in, and so I’ve highlighted
my cheeks and eyelids in
a nod to the 70s, Studio 54
d
and, of course, the hallowe
…
golden arches of McDonald’s
Con sum eris m rule s, kids ,
and this look is as good as
a 6. TO QUOTE ANNIE:
coffee-table book for your “You’re never fully dressed without a smile.” Well f**k that, it’s 2018, and a headpiec
e is a great alter-
personal brand. One can
never have enough gold,
and I advise piling it on unt
il
Step 5 native to a personality. Like the full stop at the end of your #artthink
properly and with decorum. From Velázquez to Sarah Lucas, everyone loves
course, from Vauxhall City Farm, an integral point on the new London gallery
pieceblog , it finishes things off
a fried egg (organic, of
route, between Gasworks
les som eth ing akin important to carry a snack.
one resemb and Cabinet), and with a busy day of art ahead it’s very
to Cellini’s Salt Cellar.
Suspension

A History of Abstract Hanging Sculpture

1918—2018
Curator : Matthieu Poirier
AFTER THE TRIBES
BEVERLY BARKAT A century of abstract hanging sculpture, through more
than 50 works, produced by 33 artists of 15 different
nationalities, across two exhibitions.
MUSEO BONCOMPAGNI LUDOVISI
11 OCTOBER TO 31 DECEMBER 2018
Olivier Malingue Palais d’Iéna
Via Boncompagni 18, Rome
9.30 to 19.00, closed on Mondays, free admission London Paris
1 Oct—15 Dec 2018 16—28 Oct 2018
143 New Bond Street, First floor 9, place d’Iéna
AMBASCIATA D’ISRAELE
IN ITALIA
London W1S 2TP 75016 Paris
CELEBRANDO L'INNOVAZIONE
Ufficio culturale Ambasciata di Israele - Roma
JOAN MIRÓ
Figure, 1934
Estimate $7,000,000–10,000,000

Impressionist & Modern Art Evening Sale

AUCTION NEW YORK 12 NOVEMBER

EXHIBITION FREE AND OPEN TO THE PUBLIC 2–12 NOVEMBER

1334 YORK AVENUE, NEW YORK, NY 10021

ENQUIRIES +1 212 606 7360 IMPRESSIONIST@SOTHEBYS.COM
SOTHEBYS.COM/MODERN #SOTHEBYSIMPMOD
© 2018 SUCCESSIÓ MIRÓ / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS
DOWNLOAD SOTHEBY’S APP
SOTHEBY’S, INC. LICENSE NO. 1216058. © SOTHEBY’S, INC. 2018 FOLLOW US @SOTHEBYS
 CALIBER RM 07-01
© Didier Gourdon

www.richardmille.com
 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018 21

CALENDAR
Frieze week
○ Frieze talks
THURSDAY 4 OCTOBER
12PM Tacita Dean and Tim Marlow
Frieze Masters Auditorium
3PM Julie Mehretu and Thelma Golden
Frieze Masters Auditorium
12.30PM Private in the Public
Realm: Towards New Alliances
Including Nick Thorton and Antonia Carver
Frieze London Auditorium
4.30PM On Social Work panel: Mary Kelly,
Sonia Boyce, Berni Searle and Ipek Duben
Frieze London Auditorium
FRIDAY 5 OCTOBER
12PM Doris Salcedo, Rachel
Thomas and Tim Marlow
Frieze Masters Auditorium
3PM Gods and Monsters panel: Ann
Demeester, Anne Pasternak and Deborah
Swallow, chaired by Jennifer Higgie
Frieze Masters Auditorium
12.30PM Keynote: Alexander Chee
Frieze London Auditorium
4.30PM Laurie Anderson and Lydia Yee
Frieze London Auditorium
SATURDAY 6 OCTOBER
12PM Lisa Reihana
Frieze Masters Auditorium
3PM Amy Sillman and Lynne Cooke
Frieze Masters Auditorium
12.30PM Kemang Wa Lehulere
Frieze London
4.30PM Nan Goldin with Linda Yablonsky
Frieze London Auditorium
SUNDAY 7 OCTOBER
12.30PM Auto/Biography panel with
writers Olivia Laing and Diana Simpson
Frieze London Auditorium
Why I renamed Tate Modern
○ Auctions together, due to their different ages, The paint on the Turbine Hall’s floor
Tania Bruguera on using her Turbine Hall backgrounds and relationships with changes colour with body heat
the Tate. We asked ourselves what was
THURSDAY 4 OCTOBER commission to reach out to local people missing at the Tate for them to feel The project has a civic and a
PHILLIPS invited. The resulting piece came, in symbolic dimension. At the end of
2PM 20th-century/ Hyundai Commission— to try to understand what worked. part, out of their involvement. the Turbine Hall is a giant portrait
contemporary art day sale Tania Bruguera: 10,142,926 The obvious successes were Olafur The whole project is about invis- that we covered with thermochromic
30 Berkeley Square, W1J 6EN Turbine Hall, Tate Modern, Eliasson [2003-04] and Doris Salcedo ibility. You are confronted with an paint, which changes colour with
BONHAMS Bankside, SE1 9TG [2007-08]. Most agree that one power- empty space when you enter, which body heat. The image can only be
5PM Africa Now ful image, instead of many little ones, will be a surprise for what is supposed revealed when many people generate
101 New Bond Street, W1S 1SR UNTIL 24 FEBRUARY 2019 works best. I decided that instead of to be a spectacular commission. warmth on the floor at the same
CHRISTIE’S When Catherine Wood, Tate an image, I would make a gesture— Visitors may notice a plaque at the time. You have to work with people
7PM Thinking Italian; and post-war Modern’s curator of interna- the image would be invisible. old Boiler House [Tate Modern’s main you may not know to “see” the work.
and contemporary art evening sale tional art (performance), offered me Very early on, I met Tate Modern’s building] explaining that it has been It is a portrait of Josef, a young Syrian
8 King Street, SW1Y 6QT the Turbine Hall commission just over director, Frances Morris; we talked renamed after Natalie Bell, who has man who left his home in 2011. He
a year ago, I felt excited: I always like a openly about the institution and its worked with the community’s youth was 18 when he came to the UK after
FRIDAY 5 OCTOBER challenge. But the next day I thought, aspirations, and about how the Tate in crisis for more than 25 years. Many being denied entry to the US. He had
SOTHEBY’S “Jesus…” The challenge with this is an international institution with of these kids went on to study or work no family and no money, and he was
6.30PM The History of Now: David Teiger commission is that you have no a local impact. We asked how we instead of achieving the outcomes homeless. After a few months, he was
34-35 New Bond Street, W1A 2AA control over your work. It’s a place wanted the neighbours to feel when predicted for them. This gesture is a helped by the SE1 United charity, for
where free will is tested. invited to the Tate. That conversation conversation about what contribution which Bell works. The whole idea of
CHRISTIE’S
It was scary to do this commission triggered the project. means, about how we have to rethink the project is that we can only make
1PM Post-war/contemporary art day sale
without the backing of a gallery, and With the help of Tate Exchange our values. The signage on all of Tate things happen if we work together.
8 King Street, SW1Y 6QT
without having extra cash to put into and Tate Community, we formed Tate Modern’s buildings, and on the ele- There is also a room where
PHILLIPS it if needed. The Tate understood that Neighbours. The group consists of 21 vators, the maps and so on, has been visitors can cry together. I wanted to
5PM 20th-century/contemporary I’m an independent artist and was neighbours, including activists, an changed to the Natalie Bell Building. It create forced empathy, to rehearse
art evening sale reassuring and supportive, so I said: 87-year-old neighbour who visited the will retain her name for one year. how we feel about others in times of
30 Berkeley Square, W1J 6EN “OK, let’s do this crazy stuff!” museum for the first time and two This brings us to the concept of fake news. In a world with Donald
SOTHEBY’S The first month I panicked and older people who have been coming legacy, and the commitment of the Trump, we need to start feeling
7PM Contemporary art evening sale had no ideas. The project’s immensity to the Tate since the beginning, plus institution to its community and a together. It’s not my problem or your
34-35 New Bond Street, W1A 2AA and visibility made me rethink how to some people who are critical of the socially driven art project. Part of problem; it’s our problem. We need
BRUGUERA: © JOSÉ DA SILVA

SATURDAY 6 OCTOBER
SOTHEBY’S
11AM Contemporary art day sale
34-35 New Bond Street, W1A 2AA
communicate an idea to such a broad institution and some who adore it. this commission is that we will be a culture where “us” and “them” are
and diverse group of people. Then I This is a very varied group of people— working with Tate Neighbours for substituted by “we”.
looked at the previous commissions you would not imagine them working the next two years. As told to José da Silva
 22 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018

CALENDAR
Frieze week
UNTIL 6 JANUARY 2019
• Jesse Darling: The Ballad
• Listings are arranged of Saint Jerome

alphabetically by area
(central, north, east,
UNTIL 24 FEBRUARY 2019
The Photographers’ Gallery
• Alex Prager: Silver Lake Drive
Zeng Fanzhi:
south and west)
UNTIL 14 OCTOBER
• Tish Murtha: Works 1976-1991 My pick of Frieze Week shows
UNTIL 14 OCTOBER
• Commercial galleries The Queen’s Gallery With three exhibitions opening in succession at Hauser & Wirth’s spaces
are marked with W • Splendours of the Subcontinent
UNTIL 14 OCTOBER in Zurich, London and Hong Kong, the Chinese artist reveals which shows
Wellcome Collection he plans to see during his whistle-stop tour of the UK capital this week
• Living with Buildings
4 OCTOBER-3 MARCH 2019
○ Central London WAlan Cristea Gallery
• Anni Albers: Connections—
Barbican Prints 1963-84
• The Hull of a Large Ship UNTIL 10 NOVEMBER
UNTIL 11 NOVEMBER WAlison Jacques Gallery
• Francis Upritchard: Wetwang Slack • Hannah Wilke
UNTIL 6 JANUARY 2019 UNTIL 21 DECEMBER
British Museum WAlmine Rech Gallery
• I Object: Ian Hislop’s Search for Dissent • A New Spirit Then, a New
UNTIL 20 JANUARY 2019 Spirit Now, 1981-2018
Delfina Foundation UNTIL 17 NOVEMBER
• Noor Afshan Mirza and • Early 21st Century Art
Brad Butler: The Scar UNTIL 17 NOVEMBER
UNTIL 1 DECEMBER WAlon Zakaim Fine Art
Foundling Museum • Mauro Perucchetti: Nuvole
• Lily Cole: Balls UNTIL 31 OCTOBER
UNTIL 2 DECEMBER WAnnely Juda Fine Art
• Kitty Clive • Alan Charlton: Grey Paintings
UNTIL 30 DECEMBER UNTIL 3 NOVEMBER
• Ladies of Quality & Distinction WBen Brown Fine Arts
UNTIL 20 JANUARY 2019 • José Parlá: Echo of Impressions
• First Among Equals 3 OCTOBER-9 NOVEMBER
UNTIL 13 JANUARY 2019 WBernard Jacobson Gallery
Institute of Contemporary Arts • William Tillyer: the Golden
• Metahaven: Version History Striker and Esk Paintings Zeng Fanzhi: In the Studio Renzo Piano: the Art of
3 OCTOBER-13 JANUARY 2019 UNTIL 24 NOVEMBER Hauser & Wirth, Savile Row Making Buildings
• Queens Row: Richard Maxwell WBlain|Southern (until 10 November) Royal Academy of Arts
UNTIL 13 OCTOBER • Sean Scully: Uninsideout Given the UK’s great tradition (until 20 January 2019)
Korean Cultural Centre UK 3 OCTOBER-17 NOVEMBER of portraiture, my exhibition Basel’s Fondation Beyeler, designed

ZENG: © ZENG FANZHI; COURTESY OF THE ARTIST AND HAUSER & WIRTH. PIANO: PHOTO: © FRANCOIS MORI/AP/REX/SHUTTERSTOCK. MARCLAY: © THE ARTIST; COURTESY OF WHITE CUBE, LONDON, AND PAULA COOPER GALLERY, NEW YORK. BASELITZ: DIGITALISIERT VON FARBANALYSE.DE. KAHLO: © NICKOLAS MURAY PHOTO ARCHIVES
• Yunchul Kim: Dawns, Mine, Crystal WBonhams in London is personally very by Renzo Piano, is one of my
UNTIL 3 NOVEMBER • The Congo Beat: Modern and significant as I’m presenting favourite museums in the world.
Museum of London Contemporary Congolese Art my paintings on this theme This is why I want to visit the Royal
• Night Visions UNTIL 4 OCTOBER and in doing so will reveal my Academy’s exhibition of this great
UNTIL 11 NOVEMBER WConnaught Brown creative process. master architect.
Votes for Women • Henri Martin: a Harmony of
UNTIL 6 JANUARY 2019 Symbolism and Nature
National Gallery UNTIL 20 OCTOBER
• Thomas Cole: Eden to Empire WCortesi Gallery
UNTIL 7 OCTOBER • Jan Henderikse: Mint
• Ed Ruscha: Course of Empire UNTIL 20 NOVEMBER
UNTIL 7 OCTOBER • Herman de Vries: All All All
• Courtauld Impressionists UNTIL 30 NOVEMBER
UNTIL 20 JANUARY 2019 WDavid Zwirner
• Mantegna and Bellini • Kerry James Marshall:
UNTIL 27 JANUARY 2019 History of Painting
• Boilly: Scenes of Parisian Life 3 OCTOBER-10 NOVEMBER
UNTIL 19 MAY 2019 WFlowers, Cork Street
• Sorolla: Spanish Master of Light • Michael Kidner: in Black and White
UNTIL 7 JULY 2019 UNTIL 13 OCTOBER
National Portrait Gallery WFrith Street Gallery, Golden
• Michael Jackson: On the Wall Square and Soho Square Christian Marclay: The Clock Georg Baselitz: a Focus on the 1980s
UNTIL 21 OCTOBER • Daniel Silver Tate Modern (until 20 January 2019) Galerie Thaddaeus Ropac
Royal Academy of Arts UNTIL 3 NOVEMBER Christian Marclay’s work left a (until 10 November)
• Oceania WGagosian, Britannia Street deep impression on me when I first I’m looking forward to seeing Georg
UNTIL 10 DECEMBER • Chris Burden: Measured encountered it, so I am interested Baselitz’s works displayed in the
• Renzo Piano: the Art of UNTIL 26 JANUARY 2019 to see what he does with the Tate gallery’s new London space, which
Making Buildings WGagosian, Davies Street presentation. I have yet to visit.
UNTIL 20 JANUARY 2019 • Urs Fischer: Dasha
• Invisible Landscapes UNTIL 3 NOVEMBER
UNTIL 4 MARCH 2019 WGagosian, Grosvenor Hill
• Cornelia Parker: Transitional • Joe Bradley: Day World
Object (PsychoBarn) 3 OCTOBER-15 DECEMBER
UNTIL MARCH 2019 WGalerie Kamel Mennour
Royal Institute of • Tatiana Trouvé: Navigation
British Architects Map London 2018
• Disappear Here UNTIL 10 NOVEMBER
UNTIL 24 NOVEMBER WGalerie Thaddaeus Ropac
Sir John Soane’s Museum • Tom Sachs: Swiss Passport Office
• Purely Ornamental 5 OCTOBER-10 NOVEMBER
UNTIL 14 OCTOBER • George Baselitz: a Focus on the 1980s
• Out of Character UNTIL 10 NOVEMBER
UNTIL 18 NOVEMBER WGazelli Art House
Somerset House • Aziz and Cucher: Tapestries
• Hannah Perry: Gush and New Works on Paper Frida Kahlo: Making
3 OCTOBER-4 NOVEMBER 6 OCTOBER-18 NOVEMBER Her Self Up
• Athi-Patra Ruga: of Gods, WHauser & Wirth, Savile Row Victoria and Albert Museum
Rainbows and Ommissions • Zeng Fanzhi: in the Studio (until 4 November)
4 OCTOBER -6 JANUARY 2019 UNTIL 10 NOVEMBER I believe an entire
Store Studios WHerald St, Museum St exhibition can be a work
• Strange Days: Memories of the Future • Markus Amm & Nicole Wermers of art. Most projects at the
UNTIL 9 DECEMBER UNTIL 10 NOVEMBER V&A—including, I believe,
Tate Britain WHollybush Gardens the Frida Kahlo show—are
• Anthea Hamilton: The Squash • Charlotte Johannesson: Solo a testament to this.
UNTIL 8 OCTOBER UNTIL 3 NOVEMBER
• Turner Prize • Charlotte Prodger: Colon
 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018 23

international modern
and contemporary art fair
milan

James Maubert’s Portrait of Henrietta, the Duchess of Bolton as a Shepherdess (1721)

is in the Foundling Museum’s exhibition Ladies of Quality & Distinction

Hyphen Asterix • Sue Williams: New Paintings Freelands Foundation

UNTIL 3 NOVEMBER UNTIL 24 NOVEMBER • Look
WJohn Martin Gallery WSprovieri UNTIL 27 OCTOBER
• Uwe Walther: Paintings 2015-18 • Pedro Cabrita Reis, Jimmie Parasol Unit
4 OCTOBER-27 OCTOBER Durham, Cildo Meireles • Heidi Bucher
WLisson Gallery, Bell Street UNTIL 23 NOVEMBER UNTIL 9 DECEMBER
• Dan Graham: Rock ‘n’ Roll WSprüth Magers The Showroom
3 OCTOBER-3 NOVEMBER • Lucy Dodd: Miss Mars • Lungiswa Gqunto, Pamela Phatsimo
WLévy Gorvy UNTIL 17 NOVEMBER and Emma Wolukau-Wanambwa
• Lord Duveen, My Pictures Never Look WStephen Friedman Gallery 3 OCTOBER-26 JANUARY 2019
So Marellous As When You Are Here • Tom Friedman: Always the Beginning Zabludowicz Collection
UNTIL 12 JANUARY 2019 UNTIL 3 NOVEMBER • Jordan Wolfson: 360
WLuxembourg & Dayan WStuart Shave/Modern UNTIL 21 OCTOBER
• Sublime Hardware Art, Helmet Row • Josefine Reisch
3 OCTOBER-8 DECEMBER • Forrest Bess UNTIL 28 OCTOBER
WMarian Goodman Gallery 3 OCTOBER-1 DECEMBER • Rachel Maclean
• Kemang Wa Lehulere WThe Fitzrovia Chapel UNTIL 16 DECEMBER
UNTIL 20 OCTOBER •Yinka Shonibare MBE WLisson Gallery, Lisson Street 5 – 7 april, 2019
WMarlborough Contemporary 3-6 OCTOBER • Rodney Graham: Central preview 4 april
• Antoine Catala: Everything WThe Gallery of Everything Questions of Philosophy
fieramilanocity – miart.it
Is OK, Season 2 • Art + Revolution in Haiti 3 OCTOBER-3 NOVEMBER
UNTIL 13 OCTOBER UNTIL 11 NOVEMBER WPark Village Studios
WMarlborough Fine Art WThe Mayor Gallery • Chris Levine: Inner [Deep] Space
• Paula Rego • Billy Apple UNTIL 9 OCTOBER
UNTIL 27 OCTOBER UNTIL 2 NOVEMBER WVictoria Miro, Wharf Road
WMassimo De Carlo WThe Vinyl Factory Space • Yayoi Kusama: the Moving Moment
• Kaari Upson • Bookmarks: Revisiting the Hungarian When I Went to the Universe
3 OCTOBER-17 NOVEMBER Art of the 1960s and 1970s 3 OCTOBER-21 DECEMBER
WMazzoleni UNTIL 14 OCTOBER
• Michelangelo Pistoletto WThomas Dane Gallery
27 SEP

W1S 4HZ
LONDON

27 ALBEMARLE STREET
UNTIL 15 DECEMBER • Michael Landy: Scaled-Down
WMichael Werner Gallery UNTIL 17 NOVEMBER ○ East London —— 15 DEC
• Pierre Puvis de Chavannes: WTimothy Taylor
Works on Paper and Paintings • Kiki Smith: Woodland Auto Italia 2018
UNTIL 10 NOVEMBER UNTIL 27 OCTOBER • Gran Fury: Read My Lips
WMother’s Tankstation Limited WTornabuoni Art UNTIL 2 DECEMBER
• Mairead O’hEocha: Irises in the Well • Afro: Gesture, Line and Colour, the Autograph
UNTIL 27 OCTOBER Making of an Abstract Expressionist • Arpita Shah: Purdah—the Sacred Cloth
WNahmad Projects UNTIL 1 DECEMBER UNTIL 3 NOVEMBER
• Lucio Fontana: i Teatrini WTyburn Gallery Omar Victor Diop: Liberty/Diaspora
3 OCTOBER-10 DECEMBER • Michele Mathison: Dissolution UNTIL 3 NOVEMBER
WOlivier Malingue Gallery 3 OCTOBER-17 NOVEMBER Cell Project Space
• Suspension: a History of Abstract WVictoria Miro, Mayfair • Alan Michael: Astrology and the City
Hanging Sculpture 1918-2018 • Conrad Shawcross UNTIL 11 NOVEMBER
UNTIL 15 DECEMBER UNTIL 27 OCTOBER Chisenhale Gallery
WOmer Tiroche Gallery WVigo Gallery • Lawrence Abu Hamdan
• Mao and His Portrayal in • Ibrahim El-Salah in Black and White UNTIL 9 DECEMBER
Chinese Contemporary Art UNTIL 25 OCTOBER Space
UNTIL 14 DECEMBER WWaddington Custot • Soufiane Ababri
WPace, Burlington Gardens • Ian Davenport: Colourscapes UNTIL 24 NOVEMBER
• Adam Pendleton: Our Ideas UNTIL 8 NOVEMBER Wapping Hydraulic
UNTIL 9 NOVEMBER WWhite Cube, Mason’s Yard Power Station
WParafin • Julie Mehretu: Sextant • Focus Kazakhstan: Postnomadic Mind
• Melanie Manchot: White UNTIL 3 NOVEMBER UNTIL 16 OCTOBER
Light Black Snow WWren Gallery Whitechapel Gallery
UNTIL 17 NOVEMBER • David Stewart: Paid Content • Surreal Science: Loudon Collection
WPilar Corrias UNTIL 17 NOVEMBER with Salvatore Arancio
• Philippe Parreno UNTIL 6 JANUARY 2019
3 OCTOBER-10 NOVEMBER • Mikhail Karikis: No Ordinary Protest
WPippy Houldsworth Gallery UNTIL 6 JANUARY 2019
• Mary Kelly: Face-to-Face ○ North London • Elmgreen & Dragset: This Is
UNTIL 3 NOVEMBER How We Bite Our Tongue
WRedfern Gallery Ben Uri Gallery UNTIL 13 JANUARY 2019
• Paul Feiler and Catharine Armitage • Liberating Lives: Women • Staging Jackson Pollock
UNTIL 27 OCTOBER Artists from the Collection UNTIL 24 MARCH 2019
WRobilant + Voena UNTIL 7 OCTOBER • Ulla von Brandenburg: Sweet Feast
• Pietro Consagra: Frontal • Art and Art Book Sale UNTIL 31 MARCH 2019
Sculpture 1947-67 UNTIL 7 OCTOBER WCarlos/Ishikawa
UNTIL 16 NOVEMBER British Library • Stuart Middleton: Improvers
WRonchini Gallery Windrush: Songs in a Strange Land UNTIL 27 OCTOBER
• Rebecca Ward: Silhouettes UNTIL 21 OCTOBER WFlowers, Kingsland Road
UNTIL 15 NOVEMBER Camden Arts Centre • John Loker: Six Decades
WSadie Coles HQ, Davies Street • Amy Sillman: Landline UNTIL 27 OCTOBER
CURATED BY

• Paul Anthony Harford UNTIL 6 JANUARY 2019 WHales London

Estorick Collection
MAUBERT: © NATIONAL GALLERY OF IRELAND

UNTIL 10 NOVEMBER • Mary Webb: Reverie

ALBERTO

WSadie Coles HQ, Kingly Street • Neo Futurist Collective Presents: UNTIL 27 OCTOBER
• Martine Syms: Grand Calme Make Futurism Great Again WHerald St Gallery, Herald St
UNTIL 20 OCTOBER UNTIL 21 OCTOBER • Diane Simpson
FIZ

WSimon Lee Gallery • A New Figurative Art 1920- UNTIL 11 NOVEMBER

• Gary Simmons: Green Past Gold 45: Works from the Giuseppe WKate MacGarry
UNTIL 20 OCTOBER Iannaccone Collection
WSkarstedt Gallery UNTIL 23 DECEMBER  CONTINUED ON PAGE 25
 JOSÉ PARLÁ ALAN CHARLTON

ECHO OF
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IMPRESSIONS 13 September – 3 November 2018

3 October —
9 November 2018

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 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018 25

CALENDAR Satellite fairs

Frieze week
 CONTINUED FROM PAGE 23 Hayward Gallery The Queen’s House, Greenwich Culture from the Arab World and Iran
• Drag: Self-portraits and Body Politics • Mat Collishaw: The Mask of Youth UNTIL 14 SEPTEMBER 2019
• J.B. Blunk UNTIL 14 OCTOBER 3 OCTOBER-3 FEBRUARY 2019 Saatchi Gallery
UNTIL 20 OCTOBER • Space Shifters WArcadia Missa • Penumbra
WL’étrangère UNTIL 6 JANUARY 2019 • Maggie Lee: Music Videos 3-21 OCTOBER
• Yelena Popova Horniman Museum and Gardens UNTIL 27 OCTOBER • Forests and Spirits: Figurative
UNTIL 3 NOVEMBER • Colour: the Rainbow Revealed WCorvi-Mora Art from the Khartoum School
WMaureen Paley UNTIL 28 OCTOBER • Dorota Jurczak & Walter Keeler: Flora UNTIL 25 NOVEMBER
• AA Bronson and General Idea Imperial War Museum UNTIL 3 NOVEMBER • Black Mirror: Art as Social Satire
UNTIL 11 NOVEMBER • Paul Cummins and Tom Piper WDanielle Arnaud Gallery UNTIL 13 JANUARY 2019
WNunnery Gallery UNTIL 18 NOVEMBER • Nicky Coutts Serpentine Galleries
• Visions in the Nunnery: Tina Keane • Renewal: Life after the First UNTIL 13 OCTOBER • Serpentine Pavilion: Frida Escobedo
UNTIL 28 OCTOBER World War in Photographs WGreengrassi UNTIL 7 OCTOBER
WSeventeen UNTIL 31 MARCH 2019 • Janice Kerbel • Atelier E.B.: Passer-By
• Gabriel Hartley: Landscapes • I Was There: Room of Voices UNTIL 3 NOVEMBER 3 OCTOBER-6 JANUARY 2019
UNTIL 13 OCTOBER UNTIL 31 MARCH 2019 WHannah Barry Gallery • Serpentine Pavilion: Frida Escobedo
WStuart Shave / Modern • Mimesis: African Soldier • James Capper UNTIL 7 OCTOBER
Art, Vyner Street UNTIL 31 MARCH 2019 UNTIL 27 OCTOBER Victoria and Albert Museum
• Jacqueline Humphries Jerwood Space WJGM Gallery • The Future Starts Here
UNTIL 10 NOVEMBER • Survey • Martin Maloney: Field Workers UNTIL 4 NOVEMBER
WThe Approach UNTIL 16 DECEMBER UNTIL 26 OCTOBER • Frida Kahlo: Making Herself Up
• Caitlin Keogh: Alphabet and Daggers Newport Street Gallery WThe Sunday Painter UNTIL 4 NOVEMBER
UNTIL 11 NOVEMBER • Martin Eder: Parasites • Nicholas Pope: Sins and Virtues • Jameel Prize 5
UNTIL 13 JANUARY 2019 UNTIL 10 NOVEMBER UNTIL 25 NOVEMBER
Studio Voltaire WWhite Cube, Bermondsey • Videogames: Design/Play/Disrupt
• The Oscar Wilde Temple: • Doris Salcedo UNTIL 24 FEBRUARY 2019 Colin Reid’s Colour Saturation; Purple Column (2018),
○ South London McDermott & McGough UNTIL 11 NOVEMBER WJack Bell Gallery with Adrian Sassoon at PAD London
UNTIL 31 MARCH 2019 • Anselm Kiefer • Boris Nzebo: Zombi
Drawing Room South London Gallery UNTIL 11 NOVEMBER UNTIL 19 OCTOBER 1-54 Contemporary The Other Art Fair
• From the Inside Out • Rory Pilgrim: the Resounding Bell WJD Malat Gallery African Art Fair Victoria House and The College,
UNTIL 11 NOVEMBER UNTIL 21 OCTOBER • Zümrütoglu: Mirror of Darkness Somerset House, WC2R 1LA Southampton Row, WC1B 4AP
Dulwich Picture Gallery • Knock Knock: Humour in UNTIL 13 NOVEMBER 4-7 OCTOBER 4-7 OCTOBER
• Ribera: Art of Violence Contemporary Art ○ West London WLyndsey Ingram
UNTIL 27 JANUARY 2019 UNTIL 18 NOVEMBER • Sarah Graham The Anti Art Fair PAD London
Gasworks Tate Modern Design Museum UNTIL 2 NOVEMBER Unit 8, 133 Copeland Road, Berkeley Square, W1
• James N. Kienitz Wilkins: Hearsays • Shape of Light: 100 Years of • Azzedine Alaïa: the Couturier WMichael Hoppen Gallery Peckham, SE15 3SN UNTIL 7 OCTOBER
UNTIL 16 DECEMBER Photography and Abstract Art UNTIL 7 OCTOBER • Sawatari Hajime 4-7 OCTOBER
REID: COURTESY OF ADRIAN SASSOON

Goldsmiths Centre for UNTIL 14 OCTOBER • Beazley Designs of the Year UNTIL 15 OCTOBER Sunday Art Fair
Contemporary Art (CCA) • Christian Marclay: The Clock UNTIL 6 JANUARY 2019 • Shashin: Are-Bure-Boke Moniker Art Fair Ambika P3, University of
• Mika Rottenberg UNTIL 20 JANUARY 2019 Mosaic Rooms UNTIL 12 NOVEMBER The Old Truman Brewery, Westminster, 35 Marylebone
UNTIL 4 NOVEMBER The Bower • Behjat Sadr: Dusted Waters WOctober Gallery 91 Brick Lane, E1 5QL Road, NW1 5LS
• Ivor Cutler • Lucy Gunning UNTIL 8 DECEMBER • Aubrey Williams 4-7 OCTOBER 4-7 OCTOBER
UNTIL 4 NOVEMBER UNTIL 28 OCTOBER • Modern Masters and Contemporary UNTIL 27 OCTOBER

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 26 THE ART NEWSPAPER FRIEZE ART FAIR ARTISTS’ EDITION 3 OCTOBER 2018

AGONY UNCLES

Dear Q I’m a recent graduate from “Splitting up as

Elmgreen
art school. Should I try to
get gallery representation, or a couple put new
focus on building a following
on social media? energy into our
A Elmgreen & Dragset: Do both.
But most importantly, use your
professional
lives together”

& Dragset
time together with fellow artists and
make your own independent
projects. Don’t ever try to fulfil
expectations. Q What is the best advice
you’ve been given?
Q How do you maintain a A Not to forget that everyone’s
good working relationship got a story.
after you’ve separated as a
romantic couple? Q My gallerist isn’t paying me
on time. What should I do?
Our readers ask leading artists what they think A Splitting up as a couple actually
put new energy into our
professional llives together. It was A What’s on time? Payments from
galleries can take up to six
about life, the art world and everything starting afresh and being
almost like st months. After that deadline: burn
new to each oother once again. their Porsche!

Q I’ve got a creative block. Q A big gallery has approa-

What d
do you do when this ched me, but I feel guilty
happens to you? about leaving my long-term
gallerist. What should I do?
A If tthe creative block is
because of worries in your
bec
life, then sort those out. A Follow your gut feeling. If you
are not totally satisfied with how
Otherwise
Ot just get drunk. your previous gallery has performed
Or do something that
O in relation to you as an artist, and the
will surprise yourself in new one has more to offer, you
order to break your probably already know the answer
routine. Sometimes yourself. But a big gallery does not
moving to another guarantee more success—it’s basically
place, be it a new part all about how you will handle these
of town or another new challenges and how you will be
continent, can help. able to position yourself within this
IIt’s also OK not to have new context.
a constant flow of
ge
genius ideas. Q London is too expensive.
Where should I move to?
Q When in your A Brussels is inexpensive, centrally
career did you located and has good collectors
begin to
t think about your for young art. Berlin is packed with
legacy? artists and pretty slow but still has
AIt’s enou
enough to just not have too
bad a re
reputation. Legacy…
one of the best artists’ communities,
with plenty of room for discussions
hmm… too big
bi a mouthful. and many alternative, non-commer-
cial venues. Lisbon is very affordable
Q Who wo
would win in a fight? and so pleasant but has its own pace
You or the Chapman and less international exposure. Seoul
brothers? has a very vibrant scene at the
A We don’t believe that we would
get into a fight.
moment. Los Angeles is not cheap,
but professionally it’s probably one of
the most interesting places today, and
Q Which artist would you still more affordable than London. Or
like to llife-draw? you could go somewhere else and
ELMGREEN & DRAGSET: ELMAR VESTNER

A We’re pr
drawing
pretty terrible at
drawing, but David Hockney
make that location a hotspot together
with other artists.
smoking a cigarette could be
while smokin • Elmgreen & Dragset: This Is How We Bite Our
Have a creative block? “Just get drunk,” advise Tongue, Whitechapel Gallery, until 13 January 2019
Michael Elmgreen (left) and Ingar Dragset subject.
a nice subject

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19 September – 26 October 2018

AMIR NIKRAVAN
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