THE ART NEWSPAPER|FRIEZE ART FAIR|6-7 OCTOBER 2018 ISSUE 4|FREE EVERY DAY

MASTHEAD

Wasteful art world gets RACHEL

MACLEAN
BY

ready to clean up its act

shipping companies, are aiming to
Shipping firms combat the problem of waste in the
art transport industry.
seek to replace “I see cases getting dumped
and thrown away all the time. It’s
single-use crates simply more economical for the
client to bin the case and get a new
one built, rather than paying for
needed for one-off transport, then in rainstorms because a wooden
they get stripped down; what can
be recycled is recycled, and the rest
crate was left out on the airport
tarmac or million-dollar insurance
unfortunately goes to waste,” she
says. But more substantial museum
payouts because the wrong-sized
screws were used,” he says.
crates, which are also bespoke,
have a longer lifespan. “Some of
Rokbox can offer a solution,
Stramentov says. The reusable Rachel Maclean tackles heavy sub-
them last 20 years before being product, which has been in develop- jects like the rise of Donald Trump

T
housands of items have
been shipped to Frieze
London and Frieze
Masters from around
the world—but how
these works are transported, and at
what cost, remains something of a
trade secret.
Now, as public awareness of the
environmental impact of packaging
increases, a growing number of
firms, from start-ups to established
storage,” says a London-based art
professional who asked to remain
anonymous. “The amount of waste
is disgusting.” For many, the plastic
foam used in traditional crates is a
particular concern.
Kasia Gacek, the marketing
manager at the London-based art
storage and transport company
Momart, gives an insight into how
wooden crates are used. “They
are bespoke, and if they are only
returned to us for refurbishment,”
she says.
Momart is now helping with
the research and development of a
new form of art packaging, called
Rokbox, which has been created
by the London-based entrepreneur
Andrew Stramentov.
“I have had the misfortune
to see some spectacular works
damaged beyond repair in avoida-
ble circumstances, like getting wet
ment for four years, is made from and Brexit and makes them easier to
waterproof, inert materials and is
swallow through her cotton-candy aes-
40% lighter than a museum crate
of a similar size. Inside, a “float- thetic. At the Zabludowicz Collection,
ing panel” is suspended in deep she is presenting her first VR work and
cushioning within the frame, which the Trump-inspired film she showed at
insulates the work and protects it
from shock and vibrations.
last year’s Venice Biennale. Read our
Another priority for Stramentov interview with the artist on pp16-17.
is to reduce waste. Industry bodies,
CONTINUED ON PAGE 2 

INSIDE

MASTHEAD: © RACHEL MACLEAN; COURTESY OF THE ZABLUDOWICZ COLLECTION. BANKSY: CASTERLINE GOODMAN GALLERY/INSTAGRAM. MACLEAN PORTRAIT: © CRAIG GIBSON. BOW ARTS STUDIOS: © ROB HARRIS
Contemporary art LONDON STUDIOS
market cools as Did Banksy booby-trap his own work? New schemes are providing places for
artists to work—and live PP7-8

confidence drops
The contemporary art market appears to be
cooling off. In the first six months of this year,
buyer confidence fell by 24%, despite a 27%
increase in sales at auction, finds a new report
from the analysis firm ArtTactic. It suggests that
this fall is a reflection of broader concerns—Brexit
and President Donald Trump’s trade war with
China are cited as major factors—and of fears that
the current art-market boom is unsustainable.
Speaking on The Art Newspaper podcast this
week, editor-at-large Melanie Gerlis said she felt
that “those big, gazillions-of-dollars, flying-off-the-
stand sales on the first day don’t seem to have COMMENT
happened at Frieze London this year”. Visitor figures should not be the only
At Christie’s, works by Gerhard Richter (est Was Banksy at the evening sale at Sotheby’s on Fri- said Alex Branczik, the auction house’s head of measure of an exhibition’s success P4
£12m-£18m) and Jeff Koons (est £10m-£15m) failed day night? That was the question on everyone’s lips contemporary art, Europe, adding that he was
when one of the artist’s paintings self-destructed “not in on the ruse”, although it is not clear
to sell at the post-war and contemporary art
evening sale on Thursday night. Afterwards, the as the contemporary auction drew to a close. whether other members of staff were.
COLLECTOR’S EYE
US-based art adviser Lisa Schiff said: “It’s good for Girl with a Balloon (2006) was the final lot of After a man dressed in black was seen scuffling David Roberts reveals which works in his
the market to adjust—it doesn’t just go up.” the night, and just as the canvas hammered at with security guards, speculation mounted that the collection need the most TLC P12
However, Schiff did “a lot of business” at £953,829—the same figure as the artist’s previous artist had pressed the button to shred the work.
Frieze. Works she bought for clients included
Alice Neel’s 1971 portrait of Harold Dyke, with
auction record, set in 2008—an alarm was trig-
gered inside the work. Onlookers turned to see it
“We are busy figuring out what happened,”
Branczik said. “You could argue that the piece is
IN PICTURES
Our pick of six budding stars in Frieze
Galerie Xavier Hufkens, and Alex Katz’s Coca-Cola slip through its frame and be shredded into pieces. now more valuable. It’s certainly the first work to be
Girl 12 (2018), from Galerie Thaddaeus Ropac. “Tonight we saw a little piece of Banksy genius,” spontaneously shredded as an auction ends.” A.S.
London’s dynamic Focus section PP14-15
Anna Brady

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XPW\W2IV6ɀUMK The Soviet invasion to Czechoslovakia on 21 August, 1968 (St Wenceslas Square, Prague).
 2 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018
NEWS
London
Handbags at dawn for Louis Vuitton?
Haroon Mirza accuses
brand of appropriating
his solar sculptures
T
wo new works by the
UK artist Haroon Mirza
that are on show at
Frieze London, featur-
ing “imitation” Louis
Vuitton bags and wallets, come with
a pointed message. The installations
were created in response to window
displays in various cities by the
French fashion house that Mirza says
are “blatant appropriations” of his
solar-powered sculptures.
One piece, called Counterfeiting
the counter fitters (2018), consists of a
bag spinning on a turntable powered
by solar panels attached to the wall; it
sold at Lisson Gallery to a Chinese foun-
dation for £45,000. The other, Point
of Sale (2018), features a wallet placed
on top of a rotating solar panel and
fetched £22,000 at François Ghebaly.
Mirza says there are four elements
that are central to his installations
that Louis Vuitton has appropriated in
some way: solar panels in geometric
configurations that power electrical
components, usually LEDs or turnta-
bles, with found objects spinning on
them, and exposed power cables. “I
was flattered, because it is nice to see
your work having an impact, but at
the same time, it felt like complete
exploitation,” Mirza says.
The artist considered taking legal
action but decided instead “to open a
Wasteful art world
gets ready to
clean up its act
 CONTINUED FROM PAGE 1
such as shippers and auction houses,
can buy the new crates in bulk, and
reuse or rent them out (the smallest
is provisionally priced at around
£1,500). “Fewer crates will need to
be made, less packaging will be used
inside those that are made and a lot
less will go to landfill,” he says.
Not everyone is convinced,
however. Nikolas Jones, who founded
Counterfeiting the counter fitters (2018) shows Haroon Mirza’s disdain for Louis Vuitton
dialogue” with the fashion brand by
making works using bags “inspired
by” Louis Vuitton’s famous mono-
grammed accessories. “I am interested
in the rules around appropriation,”
he says. Louis Vuitton did not respond
to a request for comment.
François Ghebaly, the director of
Blueberry’s Fine Art Services, which
specialises in crate-building, custom
packaging and installation, says: “I’m
not entirely sure how this [new pack-
aging] solves any problems. You can
ship multiple works in a traditional
case, you can secure them with screws
and you can recycle wood. Crucially,
will the cost outweigh the advantages?
I’d like to see more.”
Reuse and recycle
Other innovators trying to transform
the art world’s mindset on recycling
include the New York-based company
Fine Art Shippers. The company uses
only 100% recyclable materials, such
as biodegradable packing and eco-
friendly bubble wrap.
the eponymous gallery, says that the
fashion brand’s displays “were so obvi-
ously derived from his practice that
Mirza had to respond in some way”. He
points out that Louis Vuitton operates
a zero-tolerance policy on counterfeit-
ing, as laid out on its website. “Louis
Vuitton is known for talking about
Rokbox’s reusable packaging is 40%
lighter than traditional museum crates
copyright and counterfeits as threat-
ening the brand, which Mirza also riffs
on,” Ghebaly says.
Louis Vuitton’s parent company,
LVMH, opened an art foundation in
Paris in 2006, “epitomising the support
for art, culture and heritage they have
been providing for nearly 25 years”,
“I was flattered... but
at the same time, it
felt like complete
exploitation”
according to its website. It is a descrip-
tion Mirza takes umbrage with. “How
can LVMH be so engaged with collabo-
rating with artists, and collecting and
presenting works, while doing some-
thing that is blatant appropriation?” he
asks. “I worked out that if Louis Vuitton
had bought the works from Lisson [to
create their window displays], it would
have cost several million. Were they
going to do that? No. Are they going
to make far more than that selling the
bags? Yes!”
Around five works in the new
series, called Rules of Appropriation,
are due to go on show at Birmingham’s
Ikon Gallery on 30 November in the
exhibition Haroon Mirza: Reality Is
Somehow What We Expect It to Be
(until 24 February 2019). They will
be shown alongside a film on which
Mirza collaborated with the London-
based fashion designer Osman about a
leather tanning factory in Bangladesh.
Anny Shaw
Meanwhile, in London, the
Martinspeed shipping company
recycles the plastic foam used in
packing-case interiors. It also reuses the
cases by turning them into other prod-
ucts, such as plant pots, beehives and
artists’ easels. Its “recycling clients”
include London South Bank University
and Chelsea College of Art.
Dealers are recognising the need
for action, too. The Paris- and London-
based dealer Thaddaeus Ropac, who
is participating at Frieze London,
says that although art transport has
become “much more sophisticated”,
he feels “bad” about the hundreds of
crates that are being destroyed. “Can
we try to reuse them?” he asks.
Gareth Harris
In brief
Auction record set
for Jenny Saville
On Friday night, Jenny Saville’s Propped
(1992) made a new record price for
a living female artist when it sold at
Sotheby’s for £8.25m (£9.5m with
fees)—double its high estimate. The
painting, from the collection of the late
David Teiger, sold to a bidder on the
phone with Helena Newman, the auction
house’s co-head of Impressionist and
Modern art worldwide, who, fittingly, is
the first woman ever to have taken an
evening sale at Sotheby’s. The previous
record for a living female artist was for
Cady Noland’s Bluewald (1989), which
sold for $9.8m at Christie’s in 2015. A.B.
Idris Khan creates
British Museum series
The UK artist Idris Khan has created
21 paintings for the British Museum’s
Albukhary Foundation Gallery of the
Islamic World, which is due to open
on 18 October. The works, which
incorporate poetry stamped in blue
paint, are based on the Stoning of
the Jamarat, or Stoning of the Devil,
a ritual that takes place during the
annual Islamic Hajj pilgrimage to the
holy city of Mecca. Other new works
for the gallery include Mangour
screens in walnut wood by the Saudi
Arabian artist Ahmad Angawi. G.H.
Thaddaeus Ropac
makes plea to PM
The UK’s prime minister, Theresa May,
told the Paris- and London-based dealer
Thaddaeus Ropac last month that she
MIRZA: ANNY SHAW. CRATE: COURTESY OF ROKBOX. SAVILLE: © SOTHEBY’S
is aware of London’s pre-eminence as
a global art market centre. Ropac held
a special reception for European Union
leaders at his gallery in Salzburg during
their informal summit in the Austrian
city. “I wanted her to understand how
important the art market is to London,”
Ropac says. He organised a series of
special exhibitions catering to the
leaders. “We put on an Antony Gormley
show for Mrs May and a Georg Baselitz
display for Angela Merkel,” he says. G.H.
4 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018
COMMENT
Louisa
Buck
There is more to
exhibitions than
number-crunching
One of my all-time favourite
gallery experiences was at
one of the Tate’s worst
attended shows. The Ellsworth Kelly
retrospective, which travelled from the
Guggenheim to London in 1997, offered a
quietly glorious contemplation of colour
and form, bathed in natural light. The
fact that there was almost nobody in the
galleries added greatly to the experi-
ence. No wait to get in, clear sight lines
and time to sit and really look. It may
have been a box-office stinker but it was
a show that still remains with me more
than two decades later.
These days, exhibitions offering such
oases of calm contemplation are increas-
ingly a rarity. In our cash-strapped,
Billy Apple ®
The Artist Has to Live
Like Everybody Else
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Until 2 November 2018
THE
MAYOR
GALLERY
event-obsessed times, when public
money for the arts continues to
dwindle, visitor figures are the dominant
concern for galleries and their funders.
Attendance league tables, including The
Art Newspaper’s annual attendance
museum survey, are pored over and it
has become evermore essential that a
gallery’s programme pulls in the punters.
The bigger the audience, the happier
the finance and marketing departments,
even if the visitors are not having such a
great time. Long queues, restricted entry
and crowded spaces are now embraced
as indicative that numbers are up.
Of course, it is great that more and
more people want to visit exhibitions
and to look at art. And I’m not saying
21 Cork Street, First Floor
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that galleries should not put on popular
shows. I love a good blockbuster: the
exhibition Charles I, King and Collector
at the Royal Academy of Arts in London
was a high point of this year.
Nor am I denying that visitor figures
can be an important indicator of public
reception and a predictor of wider inter-
ests. It is a given that our public galleries
have to make sure they cater for as wide
an audience as possible.
But I am pleading that footfall should
not become the only measure of an
exhibition’s success. Our public galleries
cannot allow attendance figures to be
the sole drivers of their decision-making,
tempting as this may be. This will just
result in increasing caution, a narrowing
of creative possibility and a fixation on
big-name retreads. A desperation to
attract paying visitors surely lay behind
Tate Britain’s recent and misleadingly
titled Impressionists in London, a show
in which actual Impressionists were
pretty thin on the ground, and which
included a great many artists who did
not remotely answer to that description.
Our public institutions have to
hold their nerve and dare to offer their
audiences a varied range of experiences,
even if this is can be at the expense of
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Cézanne (2018) attracted bigger crowds
Salcedo and Ragnar Kjartansson on
than its Gillian Wearing and Claude
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shows. But the latter two exhibitions
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in which they extended ideas around A new episode debuts every Friday
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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 WEEKEND EDITION 6-7 OCTOBER 2018 7

FEATURES
Artists’ housing

BOW ARTS STUDIOS (TOP LEFT): © ROB HARRIS

A HOME of one’s OWN
F
rom central London, it takes
As debate rages two Tube journeys, a 30-minute
train ride and then a mile’s
over art’s role in walk past construction sites and
over half-finished roundabouts
to reach Radley House, one of
gentrification, five Brutalist tower blocks in
south-east London that have recently become a
Radley House, a Brutalist tower block in south-east
London, is providing housing for almost 40 artists
through an initiative run by the Peabody housing
association and the educational arts charity Bow Arts.
Above, Bow Arts Studios
which has been blighted by depopulation and
anti-social behaviour.
The Lakeside Centre was a major factor in
persuading Griffiths to move to Thamesmead,
which once famously served as the dystopian
backdrop to Stanley Kubrick’s 1971 film A
Clockwork Orange. A former clubhouse overlook-
ing Southmere Lake is being converted by Bow

two new schemes provisional solution to the city’s artist housing

and studio crisis.
Arts into a cultural centre with 40 artists’ studios.
Rents start at £130 a month, around 40% cheaper
Inside, the decor is gloomily institutional and than the market rate. The £2m revamp has been
are attempting to the smell of bubblegum-scented floor cleaner grows
stronger on the 11th floor, where the artist Joseph
partially funded by the Greater London Authority.
The centre is due to open in March 2019

tackle London’s Griffiths has lived for the past six months. He is one
of nearly 40 artists housed in vacant flats through
and is at the heart of a vision to transform
Thamesmead into a cultural hub. Current
a scheme run by the educational arts charity Bow offerings are limited to a single artist-run gallery
growing housing Arts in partnership with the Peabody housing asso-
ciation, which is overseeing a £1.5bn regeneration
TACO!, which opened in July, and a monthly cul-
tural forum hosted by Peabody. The arrival next

and studio crisis. of the vast 50-year-old Thamesmead estate.

Griffiths’s flat is spacious and light. It includes
autumn of the high-speed Elizabeth Line railway
will be a further boost.
two bedrooms, a separate living room and Bow Arts has a 30-year lease on the Lakeside
By Anny Shaw kitchen, as well as a balcony big enough to grow
tomatoes on. Rent is £700 a month (£850 with
Centre, but the living accommodation is more
precarious. Radley House and its neighbouring
bills), around 60% below market value, according blocks are slated for demolition in six years’ time,
to Marcel Baettig, the chief executive of Bow Arts. so rental agreements are on a monthly rolling
Around one-fifth (£150) is processed as a voluntary
donation towards the charity’s work in the area,  CONTINUED ON PAGE 8

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 8 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018
FEATURES
Artists’ housing
 CONTINUED FROM PAGE 7
basis. “It is a guardianship scheme, so we are
expected to move around to some degree, but I
hardly think about it,” says Griffiths, who previ-
ously lived in Poplar, east London, for four years
under a similar initiative with Bow Arts.
Griffiths says he would prefer “a certain level
of security”, but he points out that the private
rental market in central London is not much
more secure. For now, having physical and mental
space has enabled him to develop his practice and
focus on applying for funding for projects, while
holding down a day job for 25 hours a week.
“You are always on the back foot, having to
work to pay the rent on top of your practice,”
he says. “I feel I’ve lost ten years. Artists from
wealthy backgrounds are able to not only put all
of their time into their careers, which means they
get the shows sooner, but they also seem to be pri-
oritised for the paid residencies and free studios.”
Baettig believes “transitional schemes” such as
that run by Bow Arts, which “help artists during
the first ten years of their career”, are key to build-
ing sustainable careers in the arts. However, the
charity has an agreement with Peabody to “look at
how we could develop long-term accommodation
for artists, whether that’s shared ownership or
self-builds”, he says.
PRECARIOUS LIVING
Just north of the river in Barking town centre,
the non-profit organisation Create London is
pioneering a more permanent model with the
borough of Barking and Dagenham, which is due
to launch in 2020. Backed by the Turner Prize-
winning artist Grayson Perry, the £3.5m devel-
opment comprises 12 flats for artists, writers or
musicians and their families, shared studios and a
community hall on the ground floor. Rent will be
The non-profit organisation Create London is
establishing A House for Artists in Barking, backed by
the artist Grayson Perry. Top, Bow Arts Studios
at 65% of local market rates, ranging from £740 to
£975 for one-, two- and three-bedroom flats.
In exchange for long-term—potentially
lifetime—tenancies, artists are being asked to
spend half a day a week managing the public
programme of the community hall. “Artists have
lived precariously in places like Hackney Wick
and other parts of east London for the past 15 to
20 years. This is a dream project for integrating
artists into neighbourhoods and contributing to
them as they change,” says Hadrian Garrard, the
director of Create London.
“The building is called A
House for Artists, and it will
always be for artists,” he
says. There will be no right
to buy the properties, but as
long as artists meet the criteria
and “don’t go off and buy a nice
flat in Whitstable [on the Kent
coast] or become a banker in the City”,
they will be eligible to stay permanently.
A POVERTY TRAP?
While Baettig applauds Create London’s efforts,
he is not convinced by the business model. “It
means artists will be working for well below the
London Living Wage. It creates a poverty trap
because it means you can’t ever afford to move
out of that situation,” he says.
Garrard counters that “active tenancies”
are common across Europe. “In places such as
Amsterdam, many blocks have two or three main-
tenance days a month,” he says. What is more, he
says, Barking and Dagenham stands out among
London boroughs in planning for sustainable
growth. “They are taking lessons from Hackney
and Tower Hamlets, where there has been rapid
growth that hasn’t necessarily brought the com-
munity along with it.”
Artists are often blamed for catalysing
gentrification. The story goes that they move to
areas with cheap housing and studio space, then
artisanal coffee shops and property developers
soon follow. Baettig dismisses this as a “myth”.
He says that “artists are far too small a sector to
have any impact”. By mixing the gentrification
debate with the question of artists’ studios, “we
move away from the huge positive impact artists
have on our communities”.
Garrard sees “a side-effect to artists occupy-
ing space that developers really like”, however.
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“You are always on the
back foot, having to
work to pay the rent on
top of your practice”
“Ultimately, it makes an area more expensive.
Although that might not be the intention of artist
communities, there’s a degree of accidental com-
plicity,” he says.
Both agree that there needs to be a more
nuanced understanding of gentrification and
its relationship to regeneration and economic
growth. “There’s nothing wrong with a part of
London wanting to grow its economy and create
more jobs, particularly when there are high levels
of unemployment,” Garrard says.
Indeed, at a time when Brexit threatens to
further derail London’s cultural community,
with Lisbon, Berlin and Amsterdam among the
European cities offering artists competitive rates
and a better quality of life, the more crucial these
new housing and studio projects seem. There are
few others on offer; Space and Acme have provided
affordable studios since 1968 and 1972 respectively.
There are modest signs that the tide is turning.
According to a report published last month by the
mayor of London, Sadiq Khan, at least 39 artist
RENDERING: © APPARATA. BOW ARTS STUDIOS: © ROB HARRIS
workspaces closed in the capital between 2014
and 2017, but 52 new sites were created. The risk
remains high, however, as 24% of current sites
providing artists’ workspace face closure in the
next five years.
For Griffiths, too, scepticism is at last giving
way to optimism. “Finally, the work I am making
is resembling the images that I have in my head,”
he says. “It’s a very exciting moment for me,
which has been a long time coming.”
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1VXIZ\VMZ[PQX
with:
20th Century &
Contemporary Art
New York Evening Sale
November 2018
Public viewing 2-15 November
at 450 Park Avenue or at phillips.com.

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Visit us at phillips.com

KAWS
CLEAN SLATE
fiberglass, metal structure and paint
overall 295 1⁄4 x 216 x 216 in.
(749.9 x 548.6 x 548.6 cm.)
Executed in 2014,
this work is 1 of 3 unique variants.

#firstreveal
19 October
Adam Pendleton
Our Ideas 6 Burlington Gardens

2 October – 9 November 2018 LONDON

 12 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018

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

“I got to know THE ART NEWSPAPER

Anthony Caro well. Frieze Art Fair editions

I loved his company” EDITORIAL AND PRODUCTION

just a few thousand. It’s not really the
way I think—some of the works I’m
most attracted to are not the most val-
uable. Other than insurance value, it’s
irrelevant to me.
If your house was on fire, which
work would you save?
A small painting from the late 1960s
by Philip Guston. It’s one of his early
Klan series, of a Ku Klux Klan guy
driving and smoking a cigar. I think it’s
called Driving. I love it and look at it
every day.
If money was no object, what would
be your dream purchase?
A really great early Picasso, probably
from the Blue period. I don’t really
care which one, as long as it’s a very
good one.
Which of all the works in your
collection requires the most
maintenance?
I’ve got a large plaster by Chris Martin,
and moving it has to be done with
extreme care as it’s so brittle. I’ve also
got a lot of Berlinde de Bruyckere wax
Editor (The Art Newspaper):
Alison Cole
Co-editors (fair papers):
Julia Michalska, Emily Sharpe
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Production editor: Ria Hopkinson
Copy editors: Matt Barker, Tracey Beresford,
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Designers: Vici MacDonald, Bryan Mayes,
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Photographer: David Owens
Picture editors: Katherine Hardy,
Aimee Dawson
Contributors: Georgina Adam, Anna Brady,
Louisa Buck, José da Silva, Aimee Dawson,
Melanie Gerlis, Gareth Harris, Pablo Helguera,
Ben Luke, Hannah McGivern, Julia Michalska,
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media: Stephanie Ollivier
Head of subscriptions and membership:
James Greenwood
Head of sales (UK): Kath Boon

David Roberts
works, which require careful looking
after; they can’t get too hot or too cold
or they’ll crack.
What is the most surprising place
you have displayed a work?
I don’t really have an answer. There’s
certainly lots of art in the loo, but
Head of sales (the Americas):
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S
ince the 1990s, the Scottish property developer David Roberts has “A case of self-education”: David that’s normal, isn’t it? I hang it System administrator: Lucien Ntumba
amassed a collection of several thousand works by more than 800 Roberts has built a collection of more everywhere. Office co-ordinator and customer
support: Margaret Brown
Modern and contemporary artists, including Sarah Lucas, Phyllida than 800 artists since starting to buy
Barlow, Danh Vo, Louise Bourgeois and Grayson Perry. In 2007, original work nearly 30 years ago Which artists, dead or alive,
PUBLISHED BY U. ALLEMANDI
he founded the David Roberts Art Foundation, a non-profit con- would you invite to your dream & CO. PUBLISHING LTD
temporary art gallery in central London, which closed last year Manuel Otero, probably not an artist dinner party?
when Roberts announced plans to open a 20-acre sculpture park in anyone has heard of now, for around I’d like to have met Philip Guston. I got UK OFFICE:
Somerset, south-west England. However, due to local opposition to the planning €5,000. I’ve still got it—I rarely sell any- to know Anthony Caro well before he T: +44 (0)20 3416 9000
application, he now plans to open a park at his property in Scotland. Performance thing. It was the beginning of a very died. I loved his company. I love talking E: londonoffice@theartnewspaper.com
art is one of Roberts’s abiding interests and so every year during Frieze Week his bad habit. to older artists about when they were US OFFICE:
foundation puts on An Evening of Performances in north London. This year the young—you learn so much. And T: +1 212 343 0727
event took place on Tuesday at the O2 Forum Kentish Town and featured Fiona What is your most recent purchase? Picasso—I would have loved to have E: nyoffice@theartnewspaper.com
Banner aka The Vanity Press and Martin Creed, among others. I just bought a large outdoor sculpture met him too. Printed by Elle Media Group, Basildon
of a head by Nicolas Party. I already © The Art Newspaper Ltd, 2018
own some of his paintings and was Which purchase do you most All rights reserved. No part of this newspaper may be reproduced
without written consent of the copyright proprietor. The Art
in Glasgow visiting Toby Webster, regret? Newspaper is not responsible for statements expressed in the
THE ART NEWSPAPER: How did you interest grew in my early 30s, and [the founding partner] of the Modern Lots of things that I bought early on. signed articles and interviews. While every care is taken by the
first get into collecting? then it was a case of self-education— Institute, which represents him. We There are more than 800 artists in the publishers, the contents of advertisements are the responsibility
of the individual advertisers
DAVID ROBERTS: I did not grow up talking to people, visiting galleries, went for a walk and I saw this sculp- collection, some of them I look at and
surrounded by art, but I’ve always meeting artists. ture and loved it. think, “I wouldn’t have bought that
Subscribe online at
ROBERTS: BILLIE SCHEEPERS

had an interest in it. I was going to be
a naval architect, before going into
property. When I bought my first
house, I started buying prints and
drawings purely for decoration. My
What was the first piece of art
you bought?
Nearly 30 years ago, I was on holiday
in Brittany and bought a painting by
What is the most expensive work in
your collection?
There are occasions when I spend
several millions, then others when it is
now”, but we all make mistakes and
it’s part of learning. I like to see how theartnewspaper.com
my collection has developed. I don’t @theartnewspaper
@theartnewspaper
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 14
IN PICTURES
Focus
Our pick of
six budding
stars at the fair
Focus is the section in Frieze London where 34 youngish
galleries—in business for fewer than 12 years—are gathered.
Always the most dynamic element of the fair, it benefits from the
fact that there are no vast stands, so a sense of disparate visual
languages jostling for attention lends it an invigorating energy.
Here, we select six young or emerging artists in this year’s section.
By Ben Luke
Photographs by David Owens
1 Cécile B. Evans
(born 1983)
GALERIE EMANUEL LAYR
In the past two years, Cécile B. Evans has
been creating something of an opus: a
three-part video installation based on the
concept of a television series focusing on
a Modernist social housing estate and its
architect, Amos. The films and related sculp-
tures are an allegory for networked systems:
like Modernist utopian architecture, their
ideals are complicated by real-world behav-
iour. The sculptures are derived from the
sets and props in the films, including Amos’s
desk and bookshelf and a Japanese forest, in
which the architect’s hands emerge from the
ground. Amid the sculpture are two screens
featuring looped animation tests from
episode three of Amos’ World.
2 Bendt Eyckermans
(born 1994)
CARLOS ISHIKAWA
This 24-year-old Belgian painter plucks
images from his memory, reconstructing
them in a strange hybrid of realism and
Expressionism. His works are filled with
compositional oddities and suspense. A
figure in Another Kiss (2018) is mostly
off-canvas: we see only an arm pressing
against a tree trunk and a bare-footed leg,
as the figure creeps in and out of the scene,
while a black dog snarls. Eyckermans has
a curious painterly style: working on thick
canvas, he applies the paint in circular
marks, and the weave of the surface and
undulations in the paint catch the light,
lending them a glistening quality.
3 Athena Papadopoulos
(born 1988)
EMALIN
The list of materials in the works by the
Canadian artist Athena Papadopoulos
is eye-opening, but also revealing about
her subject matter. Take the work Iago
Endometriosis Homicide Suicide (2018):
one of several featuring beds displayed on
hostess trolleys, it includes media such as
glitter, hair dye, false eyelashes, make-up
and hairspray. Papadopoulos uses these
gendered consumer products alongside
food and medical items to explore a
“hyperfemininity” in these darkly fantastical
creations. On the walls are two wedding
dresses, spattered with painterly make-up
and containing circular forms somewhere
between detritus-filled birds’ nests and
grotesquely exaggerated orifices, one held
open by gynaecological tools.
Paul Heyer
4 (born 1982)
NIGHT GALLERY
Heyer’s show at the Museum of Con-
temporary Art Chicago earlier this year
featured this hanging circle of charred
THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018
brooms, decorated with bits of iridescent
shell to create an absurd model of the uni-
verse. The work reflects Heyer’s desire to
destabilise the language of form, in ways
that evoke Surrealist experiments. “While
scientists are getting a better picture of
the actual shape of our universe,” he told
Interview magazine, “I love the idea of
saying: ‘Screw it; let’s just pretend it’s like a
giant broom. Or a dog bone. Or a cigarette.
Or whatever.’” Heyer has likened the work
to “Fantasia meets Magritte meets come-
down crafting session”.
5 Zadie Xa
(born 1983)
UNION PACIFIC
This is among the most exuberant stands
at Frieze London, let alone in the Focus
section. Beneath the liveliness, though, is
a sense of longing. Xa was born to Korean
1
parents in Vancouver and lives in London,
and in the hand-sewn fabric works here, she
explores her ancestral past and her present
life away from Korea. Xa also reflects on
Western perceptions of Asian identity. The
fabrics teem with repeated imagery: yin-
yang discs, knives and conch shells, each
richly symbolic. The shells, for instance,
refer to the semi-matriarchal culture of Jeju
Island, off South Korea, and Haenyeo female
divers, one of whom appears catching an
octopus in a video on the stand.
6 Ana Roldán
(born 1977)
INSTITUTO DE VISIÓN, BOGOTÁ
Roldán’s sculptures are largely abstract
in appearance, but this cluster of works,
despite their disparate materials and forms,
derives from a single source: her photo-
graphs, called Primeval Forms, of native,
prehistoric Mexican plants. Roldán, who is
from Mexico but lives in Zürich, has used
the images as the basis for twisting neons,
vivid blue crystal structures, a ceramic
gourd sitting on a bronze branch and a
colourful standing form. These sculptures
tap into a consistent strain in Latin Amer-
ican Modernism and contemporary art in
blurring the boundary between art, design
object and architecture.
“Zadie Xa’s stand
is among the most
exuberant at Frieze
London, let alone in
Focus. Beneath the
liveliness, though,
is a sense of longing” 4 5
THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018 15

ALL PHOTOS: © DAVID OWENS; DAVID-OWENS.CO.UK/THE ART NEWSPAPER

6
16 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018

INTERVIEW
Artists

Rachel Maclean:
Brexit wrapped up
in cotton candy
The Scottish video artist—and our masthead designer
today— throws visitors into a post-Brexit apocalypse
at London’s Zabludowicz Collection. By Cristina Ruiz

R
Rachel Maclean is achel Maclean’s film Spite Your
presenting a new Face (2017), a twisted retelling
VR work in north of the Pinocchio tale for the
London this week Trump age, was one of the
most anticipated works of the
2017 Venice Biennale. Now it
is on show at the Zabludowicz
Collection as part of the artist’s first major solo
exhibition in London. Also on display is a version
of her new film Make Me Up (2018) and a new
virtual reality (VR) work, I’m Terribly Sorry (2018).
All three pieces present elaborate and engross-
Maclean only finished art school in Edinburgh
nine years ago, but has already crafted a distinc-
tive visual language that draws on sources ranging
from Old Master paintings to advertising, reality
television and YouTube culture.
THE ART NEWSPAPER: Spite Your Face seems
to refer directly to President Donald Trump
and the era of fake news, while Make Me
Up satirises YouTube culture, among other
things. Your films are anchored to real polit-
ical events and cultural trends and deal with

MACLEAN: © DAVID BEBBER

ing imagined worlds, populated by characters
both enticing and grotesque—many of them
played by the artist herself—and explore the
dark underpinnings of our contemporary politics
and culture through satire, humour and horror.
difficult issues.
RACHEL MACLEAN: Yes, absolutely. I made Spite
Your Face very purposefully in response to Brexit
and Trump. I want to make art as an investiga-
tion of things I’m thinking through and it’s a

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
ValerioADAMI Finale Art File
FRIEZE MASTERS Ginkgo Space
HdM Gallery
BOOTH G14 La Patinoire Royale – Galerie Valérie Bach
REGENT’S PARK, LONDON Leo Gallery
MadeIn Gallery
Galerie Maria Lund
October 04 – 07, 2018
MORI YU GALLERY
New Galerie
Galerie Paris-Beijing
Pierre-Yves Caër Gallery
#asianow

Primo Marella Gallery & Primae Noctis Gallery

Tel. +39 02 294 0 43 73 S.O.C. Satoko Oe Contemporary
Gallery SoSo
Fax +39 02 294 0 55 73
Gallery SU:
Via Tadino 20 Talion Gallery
I-20124 Milano Tang Contemporary Art asianowparis.com
INFO@GioMARCONI.COM TOKYOITE
Tong Gallery+Projects
WWW.GioMARCONI.COM Vanguard Gallery
Vinyl on Vinyl
Yeo Workshop
Zeto Art

Valerio Adami, Untitled, 1964, pencil, watercolor and tempera on paper, 50 × 70 cm – © Valerio Adami by SIAE 2018
 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018 17

A still of Maclean’s virtual-reality work I’m Terribly Sorry (2018, left) and one from her new film Make Me Up (2018), a version of which will be shown on BBC4 next month

politically confusing and turbulent moment. I There’s also a very strong feminist narrative voice. I like it when a voice just places some- about VR. In horror films, for example, it takes a
like art that hits on something that is difficult to in Make Me Up. body very specifically in a historical moment and lot of set-up, a lot of tension and music, for people
swallow or to think about and also difficult to be I was interested in thinking about feminism from Clark’s voice speaks of white male authority of a to be scared. You can’t just immediately scare
confronted with. different perspectives. A lot of it has to do with certain class. And his turn of phrase is amazing. someone. But with VR, you can just dump people
I’M TERRIBLY SORRY: COURTESY OF THE ARTIST, WERKFLOW AND THE ZABLUDOWICZ COLLECTION. MAKE ME UP: COURTESY OF AND © THE ARTIST

the male gaze and how it is worked into culture, into an environment and they immediately feel
Do you think your chosen visual language, so in the film you see little security cameras The show also includes your first virtual as if they are there. And having people coming
the cutesy cotton-candy aesthetic, helps us which monitor women and their levels of beauty. reality work. It seems like the perfect medium towards you is scary. The immediacy of your emo-
to deal with the darkness of the themes And you see the main character, Siri, break the for you because the environments you place tional reaction makes it totally different from film.
you explore? system or avoid the cameras’ gaze by using make your films in are already so immersive.
Yes. So much of our existence in this moment of up to draw double eyes on her face. I like the idea I was really excited about it; I’ve been wanting And the setting is a dystopian post-Brexit
late capitalism, dominated by powerful compa- that she breaks out of this feminine world not by to do VR for a while. It’s taken time to think it landscape?
nies like Google, is about the surface of things. removing make up and these signifiers of feminin- through as a medium because it is so different to I wanted to allude to Brexit without specific polit-
When we go online, for example, we’re pre- ity, [but instead] she uses them as a way out. film, having to think about the viewer being an ical reference. The work presents an idea of
sented with infantilised, cartoony images that active participant in the story. When you make Britishness reduced to tourist tat. I’ve always been
are a cover for all that is going on underneath. The character you play in the film speaks films, so much of your work is about framing interested in national identity, but it is a very
You’re meant to be distracted by these images entirely with the voice of Kenneth Clark from what the viewer gets to see. With VR, the viewer complex thing to unpick Britishness. I don’t think
and not delve deeper and just say: ‘Oh, that’s his television series Civilisations. Why? has the choice of looking in any direction, which we are necessarily taught our own history; if we
cute, Google have done an animation on their The initial commission was to respond to Clark is very challenging for a film-maker. And I wanted understood how much we have influenced the
home page.’ So, I want to comment on that but and Civilisations and then it changed as I was to make something where viewers have to think world and how much our culture is influenced by
also to create a world that is aesthetically seduc- making the film, but I got quite attached to his about their complicity in the narrative. it, then we would have slightly more humility in
tive and that you can be immersed in and believe our response to those who want to connect to other
in and then I want there to be these moments The level of detail in the landscape sets it nations and be part of something larger. There is
where that ruptures and what you see is diffi- “Online we’re presented with apart from other artists’ VR projects, where still this very stubborn hangover of empire—the
cult or grotesque. Hopefully that happens when usually there is one thing happening and the sense that we are a small nation that can punch
you’re already sucked into the film. If you just
infantilised cartoony images rest of the environment is generic. above its weight and go it alone, and that our
throw something shocking or difficult at an audi- that are a cover for all that I wanted to make a work that places you in a spe- culture is ultimately superior to everyone else’s.
ence immediately, they’re just going to say: ‘Oh cific world and makes you feel what it’s like to • Rachel Maclean, Zabludowicz Collection, London,
no, I’m not even going to engage with this.’ is going on underneath” be in that location. That is what is quite powerful until 16 December
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
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 CALIBER RM 07-01
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www.richardmille.com

CALENDAR
Frieze week
○ Frieze talks
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
MANTEGNA: COURTESY OF THE OWNER/SOTHEBY’S NEW YORK. BELLINI: © BRISTOL MUSEUM AND ART GALLERY/BRIDGEMAN IMAGES. SILLMAN: PHOTO: JOHN BERENS; © AMY SILLMAN; COURTESY OF THE ARTIST. DUBUFFET: COURTESY OF SOTHEBY’S
Amy Sillman’s Dub Stamp (13A) (2018;
detail). The artist is in conversation with
Lynne Cooke at Frieze Masters on Saturday
○ Auctions
SATURDAY 6 OCTOBER
SOTHEBY’S
11AM Contemporary art day sale
34-35 New Bond Street, W1A 2AA
Jean Dubuffet’s Effigie Incertaine
XXVI (1975; est £100,000-£150,000)
is on sale at Sotheby’s on Saturday
THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018
Mantegna and Bellini:
family connections
The National Gallery show focuses on one of the
Renaissance’s significant artistic exchanges
Mantegna and Bellini
National Gallery
Trafalgar Square, WC2 5DN
UNTIL 27 JANUARY 2019
The paintings, drawings and
works on paper of Andrea
Mantegna and Giovanni Bellini, two
giants of the early Italian Renaissance,
are being displayed side by side at the
National Gallery in an exhibition that
aims to demonstrate that the two
artists had a profound and lasting
influence on one another.
It is the first show ever to
examine the artistic dialogue
between Mantegna, the self-made
son of a carpenter from Padua, and
Bellini, who hailed from a hugely
successful artistic dynasty in Venice
and would come to be recognised as
one of the city’s greatest painters.
The two were connected through
marriage: in 1453, Mantegna wed
Bellini’s sister Nicolosia. With
this strategic alliance, the Bellinis
(including Giovanni’s father Jacopo
and brother Gentile) extended the
power of their family by co-opting
one of the most extraordinary
talents of the day, choosing to work
with Mantegna, rather than compete
against him for commissions.
The exhibition aims to show that
the union also led to one of the most
fruitful artistic exchanges of the
Renaissance. Mantegna and Bellini
“changed the way they worked in
response to one another”, writes one
of the show’s four curators, Caroline
Campbell, the director of collections
and research at the National Gallery,
in the catalogue.
There are no surviving docu-
ments or letters that shed light on
the exchange of ideas between the
artists, but “it’s clear that they were
closely connected”, Campbell says.
“Bellini makes work that directly
copies Mantegna, and Mantegna is
clearly influenced by the innovations
of Bellini.” Although Mantegna spent
much of his life working as court
painter to the ruling Gonzaga family
“The show explores
how Mantegna’s
artistic dialogue with
Bellini never ceased”
in Mantua, the show explores how
the artistic dialogue with his brother-
in-law, who spent his entire life in
Venice, never ceased.
The two artists worked in radi-
cally different styles. “Mantegna’s
talent lay in his powers of invention,
his mastery of storytelling and
his ability to bring the long-dead
world of classical antiquity to life,”
the exhibition curators write in
the catalogue (Campbell’s co-cu-
rators are Dagmar Korbacher
from the Kupferstichkabinett in
Berlin, Neville Rowley of Berlin’s
Gemäldegalerie, and Sarah Vowles
from the British Museum).  brother-in-law, the curators argue.
Bellini was no less innovative,
pioneering the use of colour, light
and mood in landscapes that he
observed around Venice. He was “the
first to use landscape comprehen-
sively to convey emotion”, Campbell
writes. Although both artists painted
religious scenes, Mantegna achieved
great acclaim for his grand historical
and mythological narratives, while
Bellini’s private devotional pictures
were much in demand.
Bellini hugely admired Mantegna:
he would transpose elements from
his brother-in-law’s paintings into
his own and sometimes rework
entire compositions. The exhibi-
tion pairs the Venetian artist’s The
Presentation of Christ in the Temple
7 — 10 March, 2019
21
Versions of The Descent into Limbo
by Mantegna (left) and Bellini
(around 1470-75), on loan from
the Fondazione Querini in Venice,
with Mantegna’s earlier version
of the same theme (around 1454),
on loan from the Gemäldegalerie,
Berlin, from which it is copied. Also
included are both artists’ interpre-
tations of The Agony in the Garden
(Mantegna’s dates from around 1455-
56; Bellini’s from 1458-60) from the
National Gallery’s collection, as well
as the artists’ versions of The Descent
into Limbo and The Crucifixion.
For his part, Mantegna was influ-
enced by Bellini’s exceptional talents
as a landscape artist. For example,
in his Death of the Virgin (1462), on
loan from Madrid’s Museo Nacional
del Prado, the top half of the com-
position is devoted to a poetically
serene view of Mantua, framed by
sea and sky, which is directly related
to the sweeping views created by his
So, who was the better artist? For
Campbell, the question is impossible
to answer. “They excelled at differ-
ent things. Mantegna revived the
art of classical antiquity and made
astonishing narrative paintings that
made history seem alive; technically,
he was a master of foreshortening.
Bellini was a master of light, colour
and landscape—nobody painted
those as skilfully as he could.”
The show is a collaboration
between the National Gallery and
the Berlin State Museums, in part-
nership with the British Museum
and the Kupferstichkabinett in
Berlin. It is due to travel to Berlin’s
Gemäldegalerie in March.
Cristina Ruiz
 22 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018

CALENDAR
Frieze week
• Mairead O’hEocha: Irises in the Well
UNTIL 27 OCTOBER
WNahmad Projects
• Listings are arranged • Lucio Fontana: i Teatrini
alphabetically by area UNTIL 10 DECEMBER
WOlivier Malingue Gallery
(central, north, east, • Suspension: a History of Abstract
south and west) Hanging Sculpture 1918-2018
UNTIL 15 DECEMBER
• Commercial galleries WOmer Tiroche Gallery
• Mao and His Portrayal in
are marked with W Chinese Contemporary Art
UNTIL 14 DECEMBER
WPace, Burlington Gardens
• Adam Pendleton: Our Ideas
○ Central London UNTIL 9 NOVEMBER
WParafin
Barbican • Melanie Manchot: White
• The Hull of a Large Ship Light Black Snow
UNTIL 11 NOVEMBER UNTIL 17 NOVEMBER
• Francis Upritchard: Wetwang Slack WPilar Corrias
UNTIL 6 JANUARY 2019 • Philippe Parreno
British Museum UNTIL 10 NOVEMBER
• I Object: Ian Hislop’s Search for Dissent WPippy Houldsworth Gallery
UNTIL 20 JANUARY 2019 • Mary Kelly: Face-to-Face
Delfina Foundation UNTIL 3 NOVEMBER
• Noor Afshan Mirza and WRedfern Gallery
Brad Butler: The Scar • Paul Feiler and Catharine Armitage
UNTIL 1 DECEMBER UNTIL 27 OCTOBER
Foundling Museum Gaming on the go: the Arcade Backpack was created by the UCLA Game Lab to “infiltrate public space” WRobilant + Voena
• Lily Cole: Balls • Pietro Consagra: Frontal
UNTIL 2 DECEMBER Sculpture 1947-67
• Kitty Clive
UNTIL 30 DECEMBER
Game-changer: how video games have grown up UNTIL 16 NOVEMBER
WRonchini Gallery
• Ladies of Quality & Distinction Videogames: Design, exhibition, Marie Foulston, games since the mid-2000s, the graphics processing. The • Rebecca Ward: Silhouettes
UNTIL 20 JANUARY 2019 Play, Disrupt notes that, while there has V&A show presents a deeper exhibition begins with an UNTIL 15 NOVEMBER
• First Among Equals Victoria and Albert Museum been a wide “cultural shift” consideration of a period unusually granular look at the WSadie Coles HQ, Davies Street
UNTIL 13 JANUARY 2019 UNTIL 24 FEBRUARY 2019 towards the acceptance of where “independent hidden labour behind game • Paul Anthony Harford
Institute of Contemporary Arts The video game and how video games in design developers have had a radical production, via design UNTIL 10 NOVEMBER
• Metahaven: Version History it is viewed by museums museums, many exhibitions impact but you still see huge documents and concept art WSadie Coles HQ, Kingly Street
UNTIL 13 JANUARY 2019 has changed radically since the feel obliged to “look at the changes happening within the from landmark titles such as • Martine Syms: Grand Calme
• Queens Row: Richard Maxwell landmark acquisition of entire history” and, by trying [major studios]”, catalysed by Journey, and goes on to UNTIL 20 OCTOBER
UNTIL 13 OCTOBER Pacman by New York’s to cover almost 50 years, end technological advances such as consider the socio-political role WSimon Lee Gallery
Korean Cultural Centre UK Museum of Modern Art in 2012. up presenting a shallow view broadband internet, and critical and collaborative • Gary Simmons: Green Past Gold
• Yunchul Kim: Dawns, Mine, Crystal The curator of the V&A’s of the medium. Focusing on smartphones and faster capacities of the medium. J.T.M. UNTIL 20 OCTOBER
UNTIL 3 NOVEMBER WSkarstedt Gallery
Museum of London • Sue Williams: New Paintings
• Night Visions • Cornelia Parker: Transitional of Saint Jerome UNTIL 17 NOVEMBER • Tom Sachs: Swiss Passport Office UNTIL 24 NOVEMBER
UNTIL 11 NOVEMBER Object (PsychoBarn) UNTIL 24 FEBRUARY 2019 WAlon Zakaim Fine Art UNTIL 10 NOVEMBER WSprovieri
National Gallery ONGOING The Photographers’ Gallery • Mauro Perucchetti: Nuvole • George Baselitz: a Focus on the 1980s • Pedro Cabrita Reis, Jimmie
• Thomas Cole: Eden to Empire Royal Institute of British Architects • Alex Prager: Silver Lake Drive UNTIL 31 OCTOBER UNTIL 10 NOVEMBER Durham, Cildo Meireles
UNTIL 7 OCTOBER • Disappear Here UNTIL 14 OCTOBER WAnnely Juda Fine Art WGazelli Art House UNTIL 23 NOVEMBER
• Ed Ruscha: Course of Empire UNTIL 24 NOVEMBER • Tish Murtha: Works 1976-1991 • Alan Charlton: Grey Paintings • Aziz and Cucher WSprüth Magers
UNTIL 7 OCTOBER Sir John Soane’s Museum UNTIL 14 OCTOBER UNTIL 3 NOVEMBER UNTIL 18 NOVEMBER • Lucy Dodd: Miss Mars
• Courtauld Impressionists • Purely Ornamental The Queen’s Gallery WBen Brown Fine Arts WHauser & Wirth, Savile Row UNTIL 17 NOVEMBER
UNTIL 20 JANUARY 2019 UNTIL 14 OCTOBER • Splendours of the Subcontinent • José Parlá: Echo of Impressions • Zeng Fanzhi: In the Studio WStephen Friedman Gallery
• Mantegna and Bellini • Out of Character UNTIL 14 OCTOBER UNTIL 9 NOVEMBER UNTIL 10 NOVEMBER • Tom Friedman: Always the Beginning
UNTIL 27 JANUARY 2019 UNTIL 18 NOVEMBER Wellcome Collection WBernard Jacobson Gallery WHerald St, Museum St UNTIL 3 NOVEMBER
• Boilly: Scenes of Parisian Life Somerset House • Living with Buildings • William Tillyer: the Golden • Markus Amm & Nicole Wermers WStuart Shave/Modern
UNTIL 19 MAY 2019 • Hannah Perry: Gush UNTIL 3 MARCH 2019 Striker and Esk Paintings UNTIL 10 NOVEMBER Art, Helmet Row
• Sorolla: Spanish Master of Light UNTIL 4 NOVEMBER WAlan Cristea Gallery UNTIL 24 NOVEMBER WHollybush Gardens • Forrest Bess
UNTIL 7 JULY 2019 • Athi-Patra Ruga • Anni Albers: Connections— WBlain|Southern • Charlotte Johannesson: Solo UNTIL 1 DECEMBER
National Portrait Gallery UNTIL 6 JANUARY 2019 Prints 1963-84 • Sean Scully: Uninsideout UNTIL 3 NOVEMBER WThe Fitzrovia Chapel
• Michael Jackson: On the Wall Store Studios UNTIL 10 NOVEMBER UNTIL 17 NOVEMBER • Charlotte Prodger •Yinka Shonibare MBE
UNTIL 21 OCTOBER • Strange Days: Memories of the Future WAlison Jacques Gallery WConnaught Brown UNTIL 3 NOVEMBER UNTIL 6 OCTOBER
Royal Academy of Arts UNTIL 9 DECEMBER • Hannah Wilke • Henri Martin: a Harmony of WJohn Martin Gallery WThe Gallery of Everything
• Oceania Tate Britain UNTIL 21 DECEMBER Symbolism and Nature • Uwe Walther: Paintings 2015-18 • Art + Revolution in Haiti
UNTIL 10 DECEMBER • Anthea Hamilton: The Squash WAlmine Rech Gallery UNTIL 20 OCTOBER UNTIL 27 OCTOBER UNTIL 11 NOVEMBER
• Renzo Piano: the Art of Making Buildings UNTIL 8 OCTOBER • A New Spirit Then, a New WCortesi Gallery WLisson Gallery, Bell Street WThe Mayor Gallery
UNTIL 20 JANUARY 2019 • Turner Prize Spirit Now, 1981-2018 • Jan Henderikse: Mint • Dan Graham: Rock ‘n’ Roll • Billy Apple
• Invisible Landscapes UNTIL 6 JANUARY 2019 UNTIL 17 NOVEMBER UNTIL 20 NOVEMBER UNTIL 3 NOVEMBER UNTIL 2 NOVEMBER
UNTIL 4 MARCH 2019 • Jesse Darling: The Ballad • Early 21st Century Art • Herman de Vries: All All All WLévy Gorvy WThe Vinyl Factory Space
UNTIL 30 NOVEMBER • Lord Duveen, My Pictures Never Look • Bookmarks: Revisiting the Hungarian
WDavid Zwirner So Marellous As When You Are Here Art of the 1960s and 1970s
• Kerry James Marshall UNTIL 12 JANUARY 2019 UNTIL 14 OCTOBER
UNTIL 10 NOVEMBER WLuxembourg & Dayan WThomas Dane Gallery
BACKPACK: ROBIN BAUMGARTEN; COURTESY OF UCLA GAMES LAB. RIBERA: © THE TRUSTEES OF THE BRITISH MUSEUM; ALL RIGHTS RESERVED

WFlowers, Cork Street • Sublime Hardware • Michael Landy: Scaled-Down

• Michael Kidner: in Black and White UNTIL 8 DECEMBER UNTIL 17 NOVEMBER
UNTIL 13 OCTOBER WMarian Goodman Gallery WTimothy Taylor
WFrith Street Gallery, Golden • Kemang Wa Lehulere • Kiki Smith: Woodland
Square and Soho Square UNTIL 20 OCTOBER UNTIL 27 OCTOBER
• Daniel Silver WMarlborough Contemporary WTornabuoni Art
UNTIL 3 NOVEMBER • Antoine Catala • Afro: Gesture, Line and Colour, the
WGagosian, Britannia Street UNTIL 13 OCTOBER Making of an Abstract Expressionist
• Chris Burden: Measured WMarlborough Fine Art UNTIL 1 DECEMBER
UNTIL 26 JANUARY 2019 • Paula Rego: From Mind to Hand, WTyburn Gallery
WGagosian, Davies Street Drawings from 1980 to 2001 • Michele Mathison: Dissolution
• Urs Fischer: Dasha UNTIL 27 OCTOBER UNTIL 17 NOVEMBER
UNTIL 3 NOVEMBER WMassimo De Carlo WVictoria Miro, Mayfair
WGagosian, Grosvenor Hill • Kaari Upson • Conrad Shawcross: After the
• Joe Bradley: Day World UNTIL 17 NOVEMBER Explosion, Before the Collapse
UNTIL 15 DECEMBER WMazzoleni UNTIL 27 OCTOBER
WGalerie Kamel Mennour • Michelangelo Pistoletto: WVigo Gallery
• Tatiana Trouvé: Navigation Origins and Consequences • Ibrahim El-Salahi
Map London 2018 UNTIL 15 DECEMBER UNTIL 26 OCTOBER
UNTIL 10 NOVEMBER WMichael Werner Gallery WWaddington Custot
WGalerie Max Hetzler • Pierre Puvis de Chavannes: • Ian Davenport: Colourscapes
• True Stories Works on Paper and Paintings UNTIL 8 NOVEMBER
Jusepe de Ribera’s Studies of the Nose and Mouth UNTIL 19 OCTOBER UNTIL 10 NOVEMBER WWhite Cube, Mason’s Yard
(around 1622) is on show at Dulwich Picture Gallery WGalerie Thaddaeus Ropac WMother’s Tankstation Limited • Julie Mehretu: Sextant
 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018 23

international modern
and contemporary art fair
milan

UNTIL 3 NOVEMBER UNTIL 21 OCTOBER UNTIL 16 OCTOBER

WWren Gallery • Josefine Reisch Whitechapel Gallery
• David Stewart: Paid Content UNTIL 28 OCTOBER • Surreal Science: Loudon Collection
UNTIL 17 NOVEMBER • Rachel Maclean with Salvatore Arancio
UNTIL 16 DECEMBER UNTIL 6 JANUARY 2019
WLisson Gallery, Lisson Street • Mikhail Karikis: No Ordinary Protest
• Rodney Graham: Central UNTIL 6 JANUARY 2019
○ North London Questions of Philosophy • Elmgreen & Dragset: This Is
UNTIL 3 NOVEMBER How We Bite Our Tongue
Ben Uri Gallery WPark Village Studios UNTIL 13 JANUARY 2019
• Liberating Lives • Chris Levine: Inner [Deep] Space • Staging Jackson Pollock
UNTIL 7 OCTOBER UNTIL 9 OCTOBER UNTIL 24 MARCH 2019
• Art and Art Book Sale WVictoria Miro, Wharf Road • Ulla von Brandenburg: Sweet Feast
UNTIL 7 OCTOBER • Yayoi Kusama: the Moving Moment UNTIL 31 MARCH 2019
British Library When I Went to the Universe WCarlos/Ishikawa
Windrush: Songs in a Strange Land UNTIL 21 DECEMBER • Stuart Middleton: Improvers
UNTIL 21 OCTOBER UNTIL 27 OCTOBER
Camden Arts Centre WFlowers, Kingsland Road
• Amy Sillman: Landline • John Loker: Six Decades
UNTIL 6 JANUARY 2019 ○ East London UNTIL 27 OCTOBER
Estorick Collection WHales London
• Neo Futurist Collective Presents: Auto Italia • Mary Webb: Reverie
Make Futurism Great Again • Gran Fury: Read My Lips UNTIL 27 OCTOBER
UNTIL 21 OCTOBER UNTIL 2 DECEMBER WHerald St Gallery, Herald St
• A New Figurative Art 1920- Autograph • Diane Simpson
1945: Works from the Giuseppe • Arpita Shah: Purdah—the Sacred Cloth UNTIL 11 NOVEMBER
Iannaccone Collection UNTIL 3 NOVEMBER WKate MacGarry
UNTIL 23 DECEMBER Omar Victor Diop: Liberty/Diaspora • J.B. Blunk
Freelands Foundation UNTIL 3 NOVEMBER UNTIL 20 OCTOBER
• Look Cell Project Space WL’étrangère
UNTIL 27 OCTOBER • Alan Michael: Astrology and the City • Yelena Popova
Parasol Unit UNTIL 11 NOVEMBER UNTIL 3 NOVEMBER
• Heidi Bucher Chisenhale Gallery WMaureen Paley
UNTIL 9 DECEMBER • Lawrence Abu Hamdan • AA Bronson and General Idea
The Showroom UNTIL 9 DECEMBER UNTIL 11 NOVEMBER
• Lungiswa Gqunto, Pamela Phatsimo Space WNunnery Gallery 5 – 7 april, 2019
and Emma Wolukau-Wanambwa: • Soufiane Ababri • Visions in the Nunnery: Tina Keane preview 4 april
Women on Aeroplanes UNTIL 24 NOVEMBER UNTIL 28 OCTOBER fieramilanocity – miart.it
UNTIL 26 JANUARY 2019 Wapping Hydraulic WSeventeen
Zabludowicz Collection Power Station • Gabriel Hartley: Landscapes
• Jordan Wolfson: 360 • Focus Kazakhstan: Postnomadic Mind UNTIL 13 OCTOBER
WStuart Shave / Modern
Art, Vyner Street
• Jacqueline Humphries
UNTIL 10 NOVEMBER
WThe Approach
• Caitlin Keogh: Alphabet and Daggers
UNTIL 11 NOVEMBER
27 SEP

W1S 4HZ
LONDON

One of the thousands of films of timepieces that
form Christian Marclay’s The Clock (2010)
The march of time
Christian Marclay: the Clock
Tate Modern
UNTIL 20 JANUARY 2019
Christian Marclay’s The
Clock (2010) has been
MARCLAY: © CHRISTIAN MARCLAY; TATE PHOTOGRAPHY/MATT GREENWOOD
27 ALBEMARLE STREET
—— 15 DEC
○ South London 2018
Drawing Room
• From the Inside Out
UNTIL 11 NOVEMBER
Dulwich Picture Gallery
• Ribera: Art of Violence
UNTIL 27 JANUARY 2019
Gasworks
• James N. Kienitz Wilkins: Hearsays
UNTIL 16 DECEMBER
Goldsmiths Centre for
Contemporary Art (CCA)
• Mika Rottenberg
UNTIL 4 NOVEMBER
• Ivor Cutler
UNTIL 4 NOVEMBER
Hayward Gallery
• Drag: Self-portraits and
Body Politics
UNTIL 14 OCTOBER
• Space Shifters
UNTIL 6 JANUARY 2019
Horniman Museum
and Gardens
• Colour: The Rainbow Revealed
UNTIL 28 OCTOBER
Imperial War Museum
• Paul Cummins and Tom Piper
UNTIL 18 NOVEMBER
• Renewal: Life after the First
cinema in inspired, World War in Photographs
spellbinding ways. It is a UNTIL 31 MARCH 2019
miraculous feat of editing • Mimesis: African Soldier
and it has enthralled UNTIL 31 MARCH 2019
audiences around the world. Jerwood Space

hailed as one of the first The film has returned to • Survey

masterpieces of the 21st London for the first time UNTIL 16 DECEMBER
century. The 24-hour film, a since it premiered at White • Project Space: Anastasia Mina, Theta
moving-image collage made Cube’s gallery in Mason’s UNTIL 15 DECEMBER
CURATED BY

from excerpts of thousands Yard eight years ago. Marclay Newport Street Gallery
of films that feature says: “It’s exciting, especially • Martin Eder: Parasites
ALBERTO

timepieces, from clocktowers in this new building, for the UNTIL 13 JANUARY 2019
to pocket watches, is fact that it’s free and people Studio Voltaire
synchronised so that it can come back as many times • The Oscar Wilde Temple:
FIZ

actually tells the time. It also as they want to, if they’re McDermott & McGough
links clips from disparate lucky enough that there isn’t UNTIL 31 MARCH 2019
movies from 100 years of too much of a queue.” B.L.
 CONTINUED ON PAGE 25
 JOSÉ PARLÁ ALAN CHARLTON
Grey Paintings

ECHO OF
IMPRESSIONS 13 September – 3 November 2018

3 October —
9 November 2018

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 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018 25

CALENDAR
Frieze week
 CONTINUED FROM PAGE 23 UNTIL 11 NOVEMBER
• Anselm Kiefer
South London Gallery UNTIL 11 NOVEMBER
Satellite fairs • Rory Pilgrim: the Resounding Bell
UNTIL 21 OCTOBER
1-54 Contemporary The Other Art Fair • Knock Knock: Humour in
African Art Fair
Somerset House, WC2R 1LA
Victoria House and The College,
Southampton Row, WC1B 4AP
Contemporary Art ○ West London
UNTIL 18 NOVEMBER
UNTIL 7 OCTOBER UNTIL 7 OCTOBER
Tate Modern Design Museum
• Shape of Light: 100 Years of • Azzedine Alaïa: the Couturier
The Anti Art Fair PAD London Photography and Abstract Art UNTIL 7 OCTOBER
Unit 8, 133 Copeland Road, Berkeley Square, W1 UNTIL 14 OCTOBER • Beazley Designs of the Year
Peckham, SE15 3SN UNTIL 7 OCTOBER
• Christian Marclay: The Clock UNTIL 6 JANUARY 2019
UNTIL 7 OCTOBER
UNTIL 20 JANUARY 2019 Mosaic Rooms
Sunday Art Fair The Bower • Behjat Sadr: Dusted Waters
Moniker Art Fair Ambika P3, University of • Lucy Gunning UNTIL 8 DECEMBER
The Old Truman Brewery, Westminster, 35 Marylebone UNTIL 28 OCTOBER • Modern Masters and Contemporary
91 Brick Lane, E1 5QL Road, NW1 5LS The Queen’s House, Greenwich Culture from the Arab World and Iran
UNTIL 7 OCTOBER UNTIL 7 OCTOBER
• Mat Collishaw: The Mask of Youth UNTIL 14 SEPTEMBER 2019
3 OCTOBER-3 FEBRUARY 2019 National Army Museum
WArcadia Missa • Special Forces: In the Shadows
• Maggie Lee: Music Videos UNTIL 28 OCTOBER
UNTIL 27 OCTOBER Saatchi Gallery
WCorvi-Mora • Penumbra
DAM: COURTESY OF PETER PETROU. SILLMAN: PHOTO: JOHN BERENS; © AMY SILLMAN; COURTESY OF THE ARTIST

• Dorota Jurczak & Walter Keeler UNTIL 21 OCTOBER

UNTIL 3 NOVEMBER • Into a Light
WDanielle Arnaud Gallery UNTIL 28 OCTOBER
• Nicky Coutts • Forests and Spirits: Figurative
UNTIL 13 OCTOBER Art from the Khartoum School
WGreengrassi UNTIL 25 NOVEMBER Amy Sillman’s TV in Bed (2017-18) is in the
• Janice Kerbel • Black Mirror: Art as Social Satire US artist’s solo show at Camden Arts Centre
UNTIL 3 NOVEMBER UNTIL 13 JANUARY 2019
WHannah Barry Gallery Serpentine Galleries UNTIL 4 NOVEMBER • Zümrütoglu: Mirror of Darkness
• James Capper • Serpentine Pavilion by Frida Escobedo • Jameel Prize 5 UNTIL 13 NOVEMBER
UNTIL 27 OCTOBER UNTIL 7 OCTOBER UNTIL 25 NOVEMBER WLyndsey Ingram
WJGM Gallery • Pierre Huyghe • Fashioned From Nature • Sarah Graham
• Martin Maloney: Field Workers UNTIL 10 FEBRUARY 2019 UNTIL 27 JANUARY 2019 UNTIL 2 NOVEMBER
UNTIL 26 OCTOBER • Atelier E.B.: Passer-By • Videogames: Design/Play/Disrupt WMichael Hoppen Gallery
WThe Sunday Painter UNTIL 6 JANUARY 2019 UNTIL 24 FEBRUARY 2019 • Sawatari Hajime
• Nicholas Pope: Sins and Virtues Victoria and Albert Museum WJack Bell Gallery UNTIL 15 OCTOBER
The Danish artist Steffen Dam’s Sea Life Installation UNTIL 10 NOVEMBER • The Future Starts Here • Boris Nzebo: Zombi WOctober Gallery
(2018),
Ryan with Peter
Moore’s Petrou
New York gallery (2018)
Sunshine at PADat
London
the Sunday Art Fair WWhite Cube, Bermondsey UNTIL 4 NOVEMBER UNTIL 19 OCTOBER • Aubrey Williams
• Doris Salcedo • Frida Kahlo: Making Herself Up WJD Malat Gallery UNTIL 27 OCTOBER

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 26 THE ART NEWSPAPER FRIEZE ART FAIR WEEKEND EDITION 6-7 OCTOBER 2018

DIARY
On the town

Hirst’s mum doesn’t scare easily

Confessions Frieze week is full of bizarre
happenings, but the prize for
of a dealer: the spookiest surely goes to the
séance held on Thursday by the
Franck Prazan German artist Martin Eder, who is
showing his peculiar paintings of
Director, Applicat-Prazan, Paris internet pets and porn at Damien
Hirst’s Newport Street Gallery.
Frieze Masters Among those who gathered in
the 19th-century former Ragged
The most underrated School in Lambeth to join hands
art movement is… and channel the spirits, watched
the post-war school over by a sinister banner of a giant Mary Brennan with Martin
of Paris! Do I have cat, Hirst’s mother, Mary Brennan, Eder and a creepy kitty
a vested interest proved more sceptical than most.
in this answer? Despite dramatic exploding bottles and Eder’s uncanny ability to guess
  the numbers on the dice hidden in participants’ hands, Mother Hirst
The artist I should declared: “I’m not feeling much; it’s a bit like a magic show.”
have signed is…
Nicolas de Staël.
Unfortunately, I
was born 11 years Art that’s going for a song—literally
after he took his
own life. That is fine; I like his children Visitors have been spluttering
and grandchildren very much. into their cappuccinos and chok-
  ing on their cheese scones in
Dealers are misunderstood because… Gail’s café at Frieze London. The
they like to be perceived as artists themselves reason? Improvised performanc-
(when they are not), because they like to be es by the opera singer Marie
perceived as curators (when they are not)
and because they hate to be perceived as
dealers (which is exactly what they are).
Starstruck? ‘Course not... Vasconi, who is belting out con-
versational snippets texted to
her as part of a Frieze Live piece
  Before the masses arrived for the first public day of Frieze London on Friday, the by the artist Laure Prouvost,
retired footballer and all-round A-lister David Beckham got an early-morning sneak dubbed It’s a Tragedy. The lyrics

The next big thing is… our exhibition
at Fiac, in Paris, dedicated to the great
eye of Michel Tapié, with paintings by
Jean Fautrier, Sam Francis and so on.
 
Life’s too short… to think I
still have time to do it.
 
Things that keep me awake
at 3am include…
concerns, headaches, troubles.
I’d rather visit a museum than…
an art fair.
 
Small talk is… not for me.
 
I last cooked for… I can’t even remember.
 
My favourite box set is… the Pink Floyd
remastered collection from August 1964 to
November 2014. Interview by Gareth Harris
OVERHEARD AT THE FAIR:
“Anybody who
sends a long text
is a waste of space”
ELMGREEN & DRAGSET: © DAVID OWENS; DAVID-OWENS.CO.UK/THE ART NEWSPAPER. EDER AND MCDERMOTT & MCGOUGH: LOUISA BUCK. VASCONI: GARETH HARRIS. PRAZAN: © THOMAS NGUYEN VAN
preview. By the time art dealers, technicians and The Art Newspaper’s team drifted to Vasconi’s arty arias are more
in bleary-eyed before their morning coffees, Golden Balls— wearing a newsboy terrestrial than tragic. “My hus-
cap—had already visited the fair and was heading for the exit when he was tackled by band just bought an apartment,”
one of our fine journalists. “Mr Beckham, Mr Beckham! I’m a Manchester United fan; I she warbled. “Do you take card
love your work,” called the advancing hack. The former midfielder has lost none of his or cash?” resounded over the
deft touch and gamely posed for an impromptu photo shoot. Asked if he had bought pastries and pickle sandwiches.
any art on the stands, Becks replied: “No, I was just looking.” As were we. But the best line we overheard
was: “I don’t like sausage rolls.”
Get your gloves on, Boris A walk on the Wilde side
If you really want to take a The US artist duo McDer-
swing at the European Un- mott & McGough this week
ion, head to Victoria Miro’s inaugurated the Oscar Wilde
stand at Frieze London, Temple—their immersive gesa-
which is showing a blue mtkunstwerk in tribute to one
boxing punch bag decorated of the earliest forebears of gay
with the 12 gold stars of the liberation—at the non-profit
EU flag. Ardent leavers are gallery Studio Voltaire, in
welcome to pummel this Clapham. Wilde would certainly
quirky creation by the artists have felt at home amid the Aes-
Elmgreen & Dragset until thetic Movement wallpaper,
they’re blue in the face. “In chandeliers and paintings by
light of Brexit and the lying, the pair, depicting the writer
populist Leave campaign, as well as latter-day LGBTQ+
we propose another way of
taking out one’s anger by
martyrs and those lost to Aids.
The secular temple is open until
The curator Alison Gingeras
with McDermott & McGough
providing a punch bag with the EU logo,” the maverick artists say. “Instead of blaming the EU
for whatever misery arises, politicians like Boris Johnson could just get their frustrations out
31 March 2019 and is available
for hire. All proceeds will build on Wilde’s legacy by supporting an LGBTQ+
in private with this surrogate tool.” They have titled the work Anger Management (2018). But
as Brexit approaches, will they create a rival piece for remainers to square up to?
homelessness charity for young people, the Albert Kennedy Trust. In the
artists’ words: “It is our greatest work because it is not about us.”

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Compass, Sales & Marketing
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Artist renderings reflect the planned scale and interior design and are subject to the Sponsor’s right to make changes to material specifications and design. Views shown are approximate and will vary depending on unit and floor. Not all residences contain the same material
specifications, finishes and appliances. Please check with your sales representative. All dimensions are approximate and subject to construction variances. Plans, layouts and dimensions may contain minor variations from floor to floor. Sponsor, 610 Lexington Property LLC,
reserves right to make changes in accordance with the terms of the Offering Plan. The complete offering terms are in an Offering Plan available from the Sponsor, File No. CD# 15-0075. We are pledged to the letter and the spirit of U.S. policy for the achievement of equal housing
opportunity throughout the nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, religion, sex, handicap, familial status or national origin.
dior.com – 020 7172 0172

LA ROSE DIOR COLLECTION

Pink gold, white gold, diamonds, tsavorite garnets
and pink sapphires.