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Installation view of “Zanele Muholi: Faces and Phases 13” (2019) at Stevenson Gallery. Courtesy of Frieze.
Installation view of “Zanele Muholi: Faces and Phases 13” (2019) at Stevenson Gallery. Courtesy of Frieze.

Frieze London Goes Green, Julien Creuzet Wins Prize, Tate Acquires Works, and Other Fair Highlights

The seventeenth edition of Frieze London kicked off on Thursday, October 3, with more than 160 galleries from thirty-six countries. According to a release, this year’s fair marks “the most international edition since its launch” in 2003. Taking place in Regent’s Park, the event will run until October 6 and coincides with Frieze Sculpture and Frieze Masters.

“This year’s editions of Frieze London and Frieze Masters embody the exceptional international spirit of London, a city that is a meeting point for art, ideas and people from all over the world,” Victoria Siddall, director of Frieze Fairs said. “They represent art and artists from around the globe, from the Asian influence on Collections at Frieze Masters, to new galleries joining Frieze London from Brazil, Lebanon, Estonia and Taiwan, as well as leading programs from the USA and Europe.” While Brexit is a major concern for the UK’s cultural sector, Siddall told the New York Times that “London is very strong. It would take a lot to change that.”

New to Frieze London is the themed section Woven, which brings together solo presentations by eight artists— Pacita Abad (Silverlens), Joël Andrianomearisoa (Primae Noctis), Monika Correa (Jhaveri Contemporary), Cian Dayrit (1335 Mabini), Chitra Ganesh (Gallery Wendi Norris), José Leonilson (Galeria Marilia Razuk), Mrinalini Mukherjee (Nature Morte), and Angela Su (Blindspot Gallery).

The section’s curator, Cosmin Costinas, the executive director and curator of Para Site, Hong Kong, said: “Together these eight solo presentations will make visible the histories and continuous legacies of the colonial catastrophe, from the economies around textiles to current forms of exploitation and political complicity, as well as point to the various languages available to artistic practice in this critical effort.”

Other major solo shows include presentations by the French Algerian artist Neïl Beloufa (kamel mennour); the Berlin-based artist Donna Huanca (Simon Lee Gallery); the South African–born, Berlin-based artist Robin Rhode (Lehmann Maupin); the Los Angeles–based artist Sterling Ruby (Gagosian); and the American artist Kara Walker (Sikkema Jenkins & Co.). The exhibition of Walker’s work coincides with the opening of the artist’s commission for Tate’s Turbine Hall.

Among the galleries making their fair debut are 80M2 Livia Benavides (Peru), Aike (Shanghai), Commonwealth and Council and Wilding Cran Gallery (both Los Angeles), Company (New York), Drei (Cologne), Galerie Tanja Wagner (Berlin), Marfa’ (Beirut), and Temnikova & Kasela (Talinn), which are all participating in Focus, the fair’s section for emerging artists. In order to be eligible, galleries must be sixteen years old or younger.

Returning to the fair are Diana Campbell-Betancourt, the curator of LIVE, which is dedicated to time-based and performance work, and the Frieze Artist Award; Lydia Yee and Matthew McLean, who are running Frieze Talks, which features conversations with Ute Meta Bauer, Diedrick Brackens, and the artists that created the Gold Lion–winning Lithuanian pavilion at the Venice Biennale, among others; and numerous galleries, including Gavin Brown’s enterprise, Galerie Gisela Capitain, Gagosian, Greene Naftali, Hauser & Wirth, Xavier Hufkens, Galerie Lelong & Co., Goodman Gallery, Matthew Marks Gallery, kamel mennour, Pace Gallery, Galerie Thaddaeus Ropac, Esther Schipper, Sprüth Magers, Galeria Luisa Strina, and White Cube.

Days after the global climate strike and the United Nations Climate Action Summit, Artnet learned that the fair is using a new fuel made from the waste of vegetable oil for its generators. According to Siddall, the fuel should reduce the fair’s carbon commissions by 90 percent. Artnet reports that the fair also dropped its plastic VIP cards in favor of digital ones and that for a while now it has been recycling the materials that are used to set up the tent.

According to an early sales report from Artnews, among the works that have already sold are pieces by artists Georg Baselitz and Elizabeth Peyton (Galerie Thaddaeus Ropac), Philip Guston (Hauser & Wirth), Kerry James Marshall (David Zwirner), Angeleno Ivan Morley (David Kordansky), Tschabalala Self (Pilar Corrias), Pieter Schoolwerth (Miguel Abreu Gallery), Sarah Sze (Victoria Miro), and Stanley Whitney (Lisson Gallery).

As a result of Frieze’s partnership with two acquisition funds for regional and public collections, the Tate added four works by Jagoda Buić, Marc Camille Chaimowicz, Patrick Staff, and Paulo Nazareth to its collection, and the Nottingham Castle Museum and Art Gallery purchased eleven photographs from Zanele Muholi’s series “Faces and Phases,” 2006–present, which documents LGBTQ communities in South Africa, from Stevenson Gallery.

In its second year, the Camden Arts Centre Emerging Artist Prize was awarded to the French Caribbean artist Julien Creuzet. Represented by Paris’s High Art gallery, Creuzet was selected from the thirty-three galleries in the fair’s Focus section and has been invited to stage a solo exhibition at the Camden Arts Centre next year. Frieze London has yet to announce the winners of the two Stand Prizes, which recognize outstanding gallery presentations across the fair.

Patrick Staff, Weed Killer, 2017. Photo: Patrick Staff. Courtesy of Tate.