Wednesday, 10 October 2018

The Skin I'm In

In the third of our reports from Frieze 2018, Sarah Cleaver curates a semi nude collection.

Every year I walk around Frieze with headphones on to exclude myself from the crowd, at the pace of an irritable father trying to speed through the Saturday family activity. I stop when I see something I love, and this year it was these 3D works by Martin Soto Climent that seemed like flesh coloured tights, the ugliest thing in the world made beautiful. My mini curation is #sendnudes, works that are reminiscent, not of real skin, but skin on the internet - re-coloured, re-molded - made better. 

Martin Soto Climent

Peter Vermeersch

Dinh Q Le, All the Boys in the World

Dinh Q Le, All the Boys in the World (detail)

Michael Borremans, Lily, 2017

Walter Pfeiffer

Sunday, 7 October 2018

Point of View

Social Work, a curated section at Frieze London 2018, featured politically engaged female artists of the 1980s and 90s. Following this strong female focus, and to coincide with our next issue of Garageland, themed (Difficult) Women (to be published on 28.10.18) Alli Sharma picks out some works with a female perspective.

Mounira Al Solh, Two shooting grandmothers, 2016, oil on canvas, 145x114cm
Sfeir-Semier Gallery, Beirut

Sophie von Hellermann, With Pierrot, 2018 acrylic on canvas 180x230cm
Greene Naftali, New York

Rose Wylie, Black Rescue Horse with White Bird of Truth, 2018, oil on canvas in two parts, 334x183cm
David Zwirner

Lisa Yuskavage, Couple in Bed, 2017, oil on linen, 195x178cm
David Zwirner

Elizabeth Macintosh, Parts, 2018, flashe and oil on canvas, 134x227cm
CANADA, New York

Ipek Duben, Sherife III, 1981, oil on canvas, 110x80cm
Pi Artworks, London

Raphael Simon, Kragen, 2018, oil on canvas, 160x200cm
Galerie Max Hetzler

Food for Frieze

Cathy Lomax visits Frieze London and Frieze Masters and devises a visual feast

Every year when I visit Frieze London and Frieze Masters I start to curate my own mega exhibition, gathering work from galleries from across the globe, and including cutting edge contemporary artists with grand masters. But this game only works with a theme. The theme is not  preconceived - it is decided upon spontaneously, derived from the work that I see on display.

This year my theme was food. I can't pretend that this is the ultimate food exhibition curated from Frieze London and Frieze Masters 2018, because maybe I missed things (I always miss things at Frieze - a friend will say 'wow did you see the Diebenkorns?' and I'll have to admit that I didn't). So please feel free to suggest things that I may have missed.

Marcel Van Eeden at Sprüth Magers

Maria Farrar, Brioche con Gelato, 2018, 180x130cm at Mother's Tankstation

Avigdor Arikha, Figs, 1974 at Blain Southern (Frieze Masters)

Elizabeth McIntosh, Split Strawberry, 2018 at Canada, New York

John Baldessari, Fake Carrot, 2016 at Marian Goodman Gallery

Euan Uglow, Loaf, 1981-83 at Marlborough (Frieze Masters)

Karen Kilimnik, Dinner at Liberaces or one of Liberaces beloved pets eating dinner without him enquirer photo back entrance LA Club, 1987, pastel on paper at 303 Gallery, New York

Maria Farrar, Marzipan, 2018, 180x130cm at Mothers TankStation

Matt Mullican, Untitled (Yellow Monster 21), 2017 at Mai 36 Callerie, Zurich

Zilla Leutenegger, Vincenz, 2018 at Galerie Peter Kilchmann, Zurich

Peter Doig, Contemplating Culture, 1985, 195x241cm at Michael Werner Gallery