{"id":161391,"date":"2024-10-14T03:00:00","date_gmt":"2024-10-14T02:00:00","guid":{"rendered":"https:\/\/centmagazine.co.uk\/?p=161391"},"modified":"2024-10-14T12:46:22","modified_gmt":"2024-10-14T11:46:22","slug":"the-great-and-good-of-frieze-24-what-to-see","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=161391","title":{"rendered":"The Great and Good of Frieze 24; What To See"},"content":{"rendered":"\n

So the infamous fair opened yesterday with the great and good of sellers buyers and press converging on the tented space in Regents Park. The air buzzed with excitement whilst the walls and floors were bedecked with every kind of art imaginable. With so much on view what good to see? Find out more in The Great and Good of Frieze 24; What To See<\/em><\/p>\n\n\n\n

Image on left Gavin Turk At Your Disposal, 2023 TUR\/O 13
wood, found materials 121 x 148 x 15 cm courtesy of Gavin Turk and Galerie Krinzinger Vienna<\/a><\/p>\n\n\n\n

The annual gathering in London of the great and good in the world of art is one of the creative highlights of the year in the city that is London. <\/em>Not a place known for being quiet, shy or retiring this hub of activity seemed to be even more global than years before.<\/p>\n\n\n\n

On offer was every kind of expression<\/a> and material within the art world. Ceremaic, materials, metals straws, grasses wools and literally any other non-paint option you could imagine.<\/p>\n\n\n\n

Interestingly this season the fair feels more global with many different styles on show. From heritage-based work to the exploration of modern and diverse takes on multiple people and places.<\/p>\n\n\n\n

On top of that emotions on show within the works were as varied as they were deep. Joy and sadness grief and distress pathos and humour.<\/p>\n\n\n\n

The image on the left by Gavin Turk<\/a>, highlights his long fascination with the themes of fire and evolution, and their connection to everyday objects like disposable lighters. Turk’s use of found objects in art, including discarded lighters found on the streets, highlights his interest in the concept of value and how we assign it to certain objects.<\/p>\n\n\n\n

Historically the ability of humans to move fire around enabled nomadic existence. The use of disposable lighters, made from plastic produced with the use of fire, raises questions about our relationship with the environment and the sustainability of our actions.<\/p>\n\n\n\n

The colour display of the disposable lighters connects to the spectral work of Joseph Albers<\/a>, who explored the relationships between colours and their impact on perception. The bright hues of the broken lighters provide a visual contrast, highlighting the dichotomy between their cheap, disposable nature and their visually compelling appearance.<\/p>\n\n\n\n

Here he challenges us to reconsider our values and actions, to think more deeply about the impact of our choices on the world around us and to consider the possibilities for new forms of value and meaning in our modern world.<\/p>\n\n\n\n

Founded in New York\u2019s East Village in 1982 and closed in 1988, Peter Nagy revived the gallery Nature Morte in New Delhi in 1997. Since then, the gallery has been synonymous in India with challenging and experimental forms of art, representing a generation of Indian artists<\/p>\n\n\n\n

In Here After Here After Here<\/em>, by Jitish Kallat is a continuous road sign that connects celestial, mythical, and earthly locations, marking distances measured from the artist\u2019s studio. The text and symbols link the studio to destinations near and far, from London, Jaipur,<\/a> and Singapore to the mythical Shangri-La, while extending beyond Earth to Mars, Neptune, and the Andromeda Galaxy. <\/p>\n\n\n

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Jitish Kallat Here after Here after Here<\/em> 2024 Aluminum composite panels, steel connectors, blue paint coating and printed adhesive film 88 x 90 x 5 in 223 x 228 x 12 cm, Nature Morte <\/a><\/p>\n\n\n\n

A recurring characteristic of Kallat\u2019s work is how it fluidly moves between vast scales of time and space. By compressing distances and geographies into a single form, these interwoven loops bridge the immediate with the infinite, the known with the speculative. <\/p>\n\n\n\n

Tanya Goel is known for her large-scale canvases that combine drawing, painting and collage into symphonies of colour, texture, and myriad surfaces. Entitled Mechanisms, these densely calibrated configurations combine the energy of Futurism with Constructivism for the digital age. <\/p>\n\n\n

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Tanya Goel Mechanisms (Fragments) 7<\/em> 2024 Pigments, graphite, pen, acrylic, oil, lenticulars and paper silk on canvas 30 x 26 in
76.2 x 66 cm, Nature Morte <\/a><\/p>\n\n\n\n

Occasionally she will turn her attention to smaller canvases, making what she calls Fragments<\/em>, which are effectively details of the large Mechanisms<\/em>. <\/p>\n\n\n\n

Here a dense understructure of a computer-generated diagram is overlaid with pigments, paint skins, fabrics, bits of plastics, and reflective foils. The results are seductive episodes of quickly moving intensity, caught mid-stream.<\/p>\n\n\n\n

Richard Salton Gallery has a group exhibition Protected Earth that is centred around ecofeminism, presenting a cross-generational survey of 9 artists from 7 countries, all of whom have received significant institutional recognition in recent years. It includes  Jennifer Binnie, Gaia Fugazza, Simryn Gill, Reena Saini Kallat, Marisa Merz, Gina Pane, Greta Schodl, Ria Verhaeghe and Barbara Levittoux \u015awiderska<\/p>\n\n\n\n

Barbara Levittoux-\u015awiderska was one of the most important yet often overlooked textile artists<\/a> who transformed tapestry from flat decorations to avant-garde installations. <\/p>\n\n\n\n

Born in Warsaw, Poland, Levittoux-\u015awiderska came to prominence in the 1960s when textiles entered into mainstream contemporary art. Like fellow Polish textile artists Magdalena Abakanowicz and Jolanta Owidzka, Levittoux-\u015awiderska followed the Eastern European tradition, incorporating locally sourced materials and rural practices to improvise new textile art-making methods and forms. <\/p>\n\n\n

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Barbara Levittoux-\u015awiderka, <\/strong>Cloud [Chmura]<\/em>, 1986 Richard Saltoun Gallery<\/a><\/p>\n\n\n\n

Reena SAINI KALLAT’s based in Mumbai practice spans drawing, photography, sculpture and video. Her interest in political and social borders, and their violent cleaving through land, people and nature, resonates with the continuing aftershocks of the Partition in India, which her paternal family experienced. Kallat has researched various histories of migration, the plunder of shared natural resources for national gain, and archives of disappeared people. The idea that barriers give way, and can be subverted is pronounced strongly in Kallat\u2019s work: where there is contact there is exchange and fusion. In the artist’s own words: <\/p>\n\n\n

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<\/a>Reena Saini Kallat, Hyphenated Lives (Chu-gle)<\/em>, 2018 Richard Saltoun Gallery<\/a><\/p>\n\n\n\n

Frieze also has on show London-based artist and filmmaker Lawrence Lek who received the 2024 Artist Award at Frieze London, realised in partnership with Forma<\/a> for the sixth consecutive year. An anchor component of the fair\u2019s artist-led programming, the award provides an early mid-career artist at a pivotal moment in their practice with the opportunity to debut an ambitious new commission at Frieze London.<\/p>\n\n\n\n

Lek\u2019s multimedia installation, Guanyin: Confessions of a Former Carebot, will focus on the eponymous character from his ongoing Sinofuturist cinematic universe. The project will combine narrative worldbuilding and mechanical sculpture into an immersive environment where players gradually uncover the story of Guanyin\u2019s existence. <\/p>\n\n\n\n

In Lek\u2019s world, Guanyin is a Carebot, a cyborg<\/a> therapist created to save other AI from the brink of self-destruction. Named after the Buddhist goddess of mercy, Guanyin(literally, \u2018the one who listens\u2019) embodies the artist’s interest in the spiritual and emotional dimensions of technology<\/p>\n\n\n\n

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