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All photos by M-KOS.
M-KOS selects a magnificent seven group of booths and artworks at the fourth edition of Frieze New York
Supplement (London, Booth B37) made their debut in the Frame section with a superb presentation of Philomene Pirecki
Yasmin Mueller, Portrait Skygirl (open eyes), 2015. Courtesy Maria Stenfors, London.
GOSH, I FANTASISE
6 May – 13 June 2015
Maria Stenfors, London
In Gosh, I Fantasise, Mueller continues her exploration of the muse through sculptural objects, with an installation that oscillates between the dreamlike and a hardedge reality.
A series of wall and floor sculptures reveal graphic abstractions intertwined with meaning. Black denim is fashioned into geometric shapes, akin to a soft skeleton or a labyrinth of guts, which starkly puncture the white cube gallery space, claiming its own domain. Mueller’s hand makes the soft material behave like hard metal or more traditional sculpture, and the resulting installation presents a tension between external structure and the inner world.
18 April – 13 June 2015
Curated by Véronique Leblanc
Artists: Anne-Marie Ouellet, Emmanuelle Léonard, Katarina Zdjelar, Kaya Behkalam & Azin Feizabadi, Sophie Castonguay, Dave Ball & Oliver Walker
Polyphonies is an exhibition that stages a plurality of voices while bringing together the work of eight artists including two duos. Whether based on documentary approaches (interviews, surveys) resembling anthropological field studies or revolving around the invention of fictional situations in which archives of various kinds are played out, the orchestration of speech in the artists’ propositions creates a disjunctive gap with the documented reality. They appropriate ways of telling stories (in past, present, and future tenses) to bring out issues in the ideological and identity-related constructions that take shape through speech.
Nelson Henricks, A Lecture on Art (2015) Installation view. Courtesy the artist and Dazibao, Montreal. Photo: Veronica Mockler
A LECTURE ON ART
25 April – 20 June 2015
In a society in which the workings of communications technology are often invisible, the act of revealing its operation can be socially and politically enabling. Works of art created with technology can foster understanding of the interplay between technology, social context and subjectivity. – NH
An artist, writer, musician and sometimes curator, Nelson Henricks is a key figure of video art. For more than thirty years, he has developed a rich body of work addressing issues such as the visual representation of sound, the passage of time, the inherency of slippage in translation – from one language to another, from one medium to another, from one concept to another – and the semantic fields revealed by these slips. Henricks’ work ranges from single-channel videos to complex multi-channel installations, as well as projects that incorporate various other techniques and materials.
EVA International 2014 Edition AGITATIONISM, curated by Bassam El Baroni, exhibition venue detail, Photo: Deirdre Power
OPEN CALL FOR PROPOSALS
EVA International – Ireland’s Biennial 2016
Still (the) Barbarians
Curated by Koyo Kouoh
16 April–10 July 2016
Deadline: 12.00pm IST* 15 June 2015
EVA International – Ireland’s Biennial of Contemporary Art is pleased to announce that the 37th edition in 2016 will be curated by Koyo Kouoh, independent curator and founding artistic director of RAW Material Company, a centre for art, knowledge and society in Dakar, Senegal.
EVA 2016 will be titled Still (the) Barbarians and will investigate the post-colonial condition of Ireland as a point of departure from where artistic reflections, critical redefinitions and political transformations are articulated. The biennial programme will address artistic, architectural, literary and critical positions that interpret colonial effects on the psyche, landscape and imagination, and that continue to shape our present condition. Artists’ projects will be selected through an open call for proposals. Proposals are invited from individual artists or groups in response to the curatorial project Still (the) Barbarians and in the context of the centenary of the 1916 Easter Rising in Ireland.
Papier 15 as always dedicated its art fair programme towards works exclusively made on paper, to include drawings, prints, collages, photography as well as three-dimensional paper-based objects. The annual fair opened its 8th edition between 24 and 26 April, and over the years, Papier’s reputation has risen to now feature among the top do-not-miss events on Montreal’s contemporary arts calendar. For 2015 Papier relocated to Complexe de Gaspé, which is rapidly developing into a new arts hub, housing four floors of artist studios and six artist run spaces in the hip Mile End district. The fair took over the top three floors of this 11-story building filled in natural light, to accommodate 39 galleries from across Canada. Comparatively to previous years, the somewhat leaner line-up of exhibiters did combine many regulars with first timers such as Diaz Contemporary (Toronto [TO]), Lisa Kehler Art + Projects (Winnipeg), Initial Gallery (Vancouver) and Studio 21 Fine Art (Halifax). The smaller numbers of booths were nonetheless particularly well positioned in an otherwise enormous space, circling the middle of each floor to leave a wide walkway around the window-covered external walls, for visitors to also enjoy a 360 panoramic view of La Belle Ville.
DIAGONALE + BIAN 2016
CALL FOR SUBMISSIONS | DIGITAL ART
Deadline: 2 June 2015
Diagonale joins the 3rd International Digital Arts Biennial – BIAN (May–June 2016). In this context, the center is launching a call for projects which relate to Diagonale’s mandate and the theme of the Biennale 2016: AUTOMATA. Curators and artists are invited to submit a proposal until June 2, 2015. The project chosen will be part of the official program of Diagonale and BIAN. It will be presented at the gallery Diagonal May–June 2016 (dates to be confirmed). Read more
Fred Laforge, ( ) 14, Exhibition view / vue de l’exposition, CIRCA art actuel, 2014. Courtesy the artist and CIRCA art actuel, Montréal
OPEN CALL FOR ARTISTS AND CURATORS
Circa art actuel
Deadline: Friday 15 May 2015, 11:59pm
Since its inception, CIRCA art actuel’s distinctive profile has been associated with contemporary sculpture. Over the past years, artistic practices that incorporate wider concerns of space have expanded the heart of our programming. Questions of space (social, personal, virtual, geographic, cultural, political, contested and environmental) can be rooted in the real, imaginary or virtual.
A conceptual thread that links our curatorial and artistic directions is the staging space, as it is manifested in diverse, meta sculptural practices including sculpture, installation and performance. CIRCA art actuel welcomes drawing, sound, new media, photography and painting when used to challenge or reconsider expanded definitions of space.
Becca Pelly-Fry. Courtesy Griffin Gallery, London
Becca Pelly-Fry is the director and curator of Griffin Gallery in West London, located in the same building as its parent organisation ColArt International, the company for world renowned art materials brands including Winsor & Newton, Liquitex and Conté à Paris. Since her appointment in 2013, Pelly-Fry has increased Griffin Gallery’s focus on ‘materiality in contemporary art’ and create a space for dialogues through innovative exhibitions and events. In our interview, Pelly-Fry talks about her vision and the gallery’s ongoing commitment to support local, national and international emerging talent.
MKOS: Can you tell us more about the history and mandate of the gallery and how it operates? Is this really the case that Griffin Gallery is that part of ColArt International, a global organisation for art materials, and runs as a privately funded not-for-profit space?
Becca Pelly-Fry [BPF]: Yes, that’s exactly right. The gallery was established in 2012, with the overarching aim of creating a space for display and discussion of contemporary art, a space for artists and ColArt employees to gather. When I took on the Directorship in early 2013, we spent the first few months establishing a five year strategy and a vision for the gallery. At that point we realised that what was going to set us apart from all other gallery spaces in London was our strong connection to the art materials industry – we therefore decided to focus (mainly) on emerging artists with an interest and engagement with materials, and aim to put ourselves at the centre of an ongoing dialogue about materiality in contemporary art.