The Six Best Solo Presentations at Frieze New York 2022
Celebrating its 10th anniversary in New York, art fair Frieze launches a VIP preview tomorrow morning, bringing together dealers from 17 countries and a slate of cultural programs across the city. Led by Christine Messineo, who became director of the New York and Los Angeles editions of Frieze in November last year, the fair continues the intimate flavor of last May with its centralized location at the Shed at Hudson Yards and approximately 65 attendees, nearly a third of the pre-Covid figures. For those who prefer to attend virtually, an online viewing room is still available. This year, however, Frieze’s solo gallery presentations are particularly noteworthy. Honoring long-established – and sometimes overdue – recognized artists across a wide range of mediums, they feel like tightly curated pop-up exhibitions on topics ranging from the hamster wheel of gentrification in New York to an institutional critique of the fair itself. Mark these six artist booths on your Frieze New York 2022 itinerary.
Gagosian, New York
The most talked about piece this year at The Shed isn’t a work of art, according to the man who made it. German-born Swiss artist Albert Oehlen has created a vending machine that dispenses his signature drink Kafftee/Cofftea: a hybrid of the two drinks, developed by Aqua Monaco. Known for taking abstract painting to extremes, Oehlen’s work – which is not for sale and exhibited for the first time in the United States – aims to highlight the commerciality of contemporary life and fairs. of art themselves. Visitors receive free tokens to use the machine, but fair warning: Oehlen describes the drink as one that “will never let you sleep again.” In addition, Gagosian’s stand features four paintings (which are do not free and are for sale) from 2014 which reinforce Oehlen’s commercial theme, mixing Pop Art graphic advertisements and pictorial brands.
Frieze New York
American conceptual heavyweight Tom Burr recreates his famous 1997 work, Eight renovations: a constellation of sites across Manhattan, a text-based artwork depicting flowing spaces and places of transition, printed on green plasterboard. In the style of guerrilla advertising, Burr has been posting the paragraphs on sites across Manhattan since last month and is displaying the series on drywall for the fair. Tomorrow, visitors will also discover a new text by the artist, the Ninth Renovation (2022) at the Hangar. “These ideas of change, gentrification, displacement and growth, whichever angle you approach them from, are still very relevant and present, and especially in a place like Hudson Yards and the Shed,” Burr says. .
Michael Rosenfeld Gallery, New York
Covering sculpture, collage, printmaking and drawing, Michael Rosenfeld Gallery presents a fully-fledged mini-exhibition at Frieze, “Nancy Grossman: My Body”, tracing the artist’s attention to the human form over three decades. It’s a striking glimpse of Grossman, who became famous in the 1960s for her softwood “self-portrait” heads, covered in leather, zippers, spikes and straps. “To me, and I hope to everyone, Nancy Grossman’s art seems eternally contemporary, although most of the works in our booth were created 30 or 40 years ago,” says gallery director Halley K. Harrisburg. The fair presentation parallels the current exhibition at the gallery of the same name and coincides with Grossman’s 82nd birthday. “Although her oeuvre encompasses a wide range of disciplines and approaches, including a large number of abstract works, Nancy Grossman’s career has never been examined strictly through the prism of the figure,” Harrisburg explains.
Hauser & Wirth, New York
Collectors and museums are clamoring for the plexiglass grids by Los Angeles-based concept artist Charles Gaines. In his acclaimed practice, Gaines paints meticulous trees and faces by number question the systems of representation and identity. Visitors to Frieze will encounter the latest evolution in its series, which renders shaded branches as layered, pixelated outlines. Hauser & Wirth presents five unique large-scale grills, as well as a limited-edition print by Gaines titled Social Justice Notes: Freedman’s Monument (2021). Printed by Paulson Fontaine Press, the work is a musical score, accompanied by an excerpt from Frederick Douglass’ 1876 speech at the dedication of the Freedman’s Memorial in Washington, D.C.
David Kordansky, Los Angeles
Not to be missed tomorrow, the watercolors of Mai-Thu Perret and two large ceramics, presented by David Kordansky. Currently the focus of a solo exhibition, “Real Estate,” at Rome’s Istituto Svizzero through June, Perret’s work for Frieze draws on similar themes from Roman mythology and feminist counter-narratives. “Diana, one of the new sculptures, references Diana of Ephesus, a distinctive incarnation of the Roman goddess of the hunt, who is depicted with rows of bulbous, breast-like bumps on her torso,” Perret explains, who recreated the strange protrusions. . In her rendition, the ancient figure is a contemporary young woman with cropped hair, sneakers, and an open-backed dress.
Modern art, London
Artist Karlo Kacharava was part of Georgian intellectual circles in Tbilisi in the mid to late 1980s and early 1990s and made art until his untimely death in 1994 from a sudden brain aneurysm at the age of 30. He left an important and prolific legacy. of paintings, drawings, poetry and criticism that pushed against the encouraging loosening of the cultural boundaries of his homeland. This year, London’s Gallery of Modern Art is bringing Kacharava, relatively unknown to the US art world, to the New York market with a stand dedicated to the artist’s avant-garde expressionist practice. . “Kacharava needs no introduction in his native Georgia and has posthumously received the enduring reverence accorded to cult figures,” said independent curator Anna Kats. “Yet Kacharava was a decidedly transnational agent, whose lived experience, voracious curiosity, and travels to Germany, France, and Spain made him a cosmopolitan far beyond the Georgian context alone.” Witnessing Georgia’s tumultuous journey of independence from the Soviet Union, Kachavara’s work invents a distinct visual world, with haunting characters colliding with a 20th century urban and industrial landscape. “Using the language, often words taken from English and German, like found objects,” she continues, “he brought people like Susan Sontag and Basquiat into focus on contemporary Georgian art” .
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