London truly capitalises on this cultural flux in the October calendar with satellite fairs, exhibitions, gallery vip brunches and fashion events, so we went deep into the friezing programme to gaige what London is thinking about beyond brexit and what stand point it was projecting to the multitude of global visitors that descend for this important week.
Here is a run down….
TRANSFORMER: A Rebirth of Wonder at 180 The Strand. December 8, 2019 Curated by Jefferson Hack, Transformer: A Rebirth of Wonder, features newly commissioned and debut works by: Doug Aitken, Sophia Al-Maria & Victoria Sin, Korakrit Arunanondchai, Donna Huanca, Juliana Huxtable, Evan Ifekoya, Dozie Kanu, Quentin Lacombe, Lawrence Lek, Jenn Nkiru, Chen Wei and Harley Weir & George Rouy. The title of the show is inspired by beat poet Lawrence Ferlinghetti’s "I Am Waiting", which comments on the societal problems of contemporary America, and calls for a change of consciousness—the rebirth of a new wonder.
MATCHES - Fashion Show Symonds Pearmain's S/S '20 collection was showcased with longtime supporters Matches Fashion, who hosted them as part of Matches new partnership with Frieze London. Roksanda Ilinčić and filmmaker and activist Liz Goldwyn for a high tea and discussion on what it means to ‘have it all’. Plus instal of The World Of Craig Green And Saelia Aparicio at 5 Carlos Place
PRADA MODE- Prada presents the third iteration of Prada Mode, a traveling social club with a focus on contemporary culture that provides members a unique art experience along with music, dining, and conversations. An installation by Theatre Gates at 180 The Stand featuring Collective Intimacy, a live programme in collaboration with The Vinyl Factory and The Showroom, London.
CHISENHALE - Sidsel Meineche Hansen Welcome to End-Used City September 20 – December 8 2019. The exhibition brings together new and existing works to further explore Meineche Hansen’s ongoing inquiry into virtual and robotic bodies and their relationship to human labor within the gaming, pornographic and tech-industries.
Here's the lowdown: with Frieze having over 35 countries participating it was set to be the most international Frieze London yet—it was like the galleries drove a mating call to the international dealers and collectors. Perhaps this flux of attendees from overseas was due to the weak pound. What is a better time to arrive than when Britain’s back is broken by that devil that is Brexit?
The sales came fast on the first day and it was predominantly painting. Hauser & Wirth sold paintings by Mark Bradford, Cy Twombly, and Philip Guston, racking in a casual $14 million. The turner prize nominated artist Oscar Murillo sold for $400,000 at David Zwirner. Kerry James Marshall (Car Girl 2, 2019) sold for $3.8 million, and a figurative Neo Rauch piece (Die Wandlung, 2019) sold for $1.5 million. At Carlos Ishikawa, the painter Issie Wood was tipped off as a one to watch.
The satellite fairs, events and various fashion activationed also celebrated the influx of visitors. Between the action around London, backed with hard sales as proof, it seems as though Frieze London was not frozen out of the market afterall, but instead was celebrated in full regalia though art, fashion and culture.
And for her first time showing them, she hosted a Q&A, and a very sweet one at that. It felt like a round table of family members, personal, jovial, and I felt especially included, even as an observer. After, we huddled in an alleyway behind the space and spoke for a moment. She was open, and sensitive—as one might be on reading someone their diary. In our discussion, below, I learned much about Tommy Genesis—and I believe that by simply seeing her sketches, you might too.
How do you feel now [that your show is up there]?
I feel good. I was nervous because everyone was like, “Oh don't be nervous, you always perform, you always do shows,” but this is the first time I've ever shown my art.
Do you feel like this is more vulnerable?
I just feel like it's brand new. A new experience. I mean, these are things I make anyways, for myself, and then suddenly having them in a public space outside of my apartment…
It seems personal.
It is very personal, it’s like pretty much all just from my mind, not from looking at anything. Sitting down, drawing. I feel like I tend to draw the same thing over and over again, and it’s very repetitive, but that’s meditative. Its crazy because you could have an art show and put literally anything on the walls, in the space. When I went to art school I took sculpture and film and I still use film a lot, but sculpture, not really… making drawings feels more natural.
Theres more freedom in it, it seems. How do you feel like it relates to your music, is it totally separate?
I think it;s something that I do for myself, that I do really privately. It really doesn't have to do with music, or anyone.
That’s healthy.
It's basically my therapy. A meditation, what I do when I’m alone, and want to check out. It's not for sale because to me these are my kids, they’re just for me. It’s not that they're not good, I love them, but its hard to put them in a public space because they were never meant to be there.
You did have a lot of friends here supporting you.
Yeah. I didn't post it, I just sent invites to friends. But I’m glad you liked it. Art is so subjective sometimes. The aesthetic, and composition… but it feels really good.
