ARTIST PAULINA OTYLIE SURYS shares her studio booth picks from Frieze London
CARLOS / ISHIKAWA
"LIVE" BY Lloyd corporation
The Lloyd Corporation space takes us away from the polished, over-aestheticised interiors of Frieze Art Fair, we enter an internet café, the (non)space which is transformed when put into the context of the fair. Personalised Internet booths offer a voyeuristic peek into the lives of the clients of the internet café, left as if someone popped out for a quick cigarette break. The mixed media piece by Darja Bajagic depicts the ritualistic self-harming female nude, giving us a glimpse into the dark world of the un-surveillanced web.
Lloyd Corporation’s installation expands outside the booth and takes various forms of street vending dispersed across the entire space of the fair, spontaneously popping up here and there triggering engagement with the viewers as they engage/avoid.
VARIOUS SMALL FIRES GALLERY
"PRIMAL SPEECH" BY LIZ MAGIC LASER
Liz Magic Laser's Primal Scream consists of sleek, soft, grey padded walls reminiscent of a psychiatric ward with futuristic therapeutic devices such as punching pillows and a screaming vase. Viewers are reclining on the pillows immersing in the cathartic yet manipulative experience of Laser’s therapeutic video guiding them to manifest and purify their private and sociopolitical frustrations.
A pseudo therapy group is filmed and displayed consisting of performers with opposing political convictions about BREXIT and the upcoming U.S. presidential election. The project is a collaboration with Valerie Bell, A Certified Professional Life Coach specialising in Primal Therapy techniques with the intention of expressing the relationship between traumatic experience and political beliefs.
The Sunday Painter Gallery
“Not Titled Yet” by Rob Chavasse
Rob Chavasse's Incredibly bold booth from The Sunday Painter Gallery consisted of temporality exported objects. Employing a dematerializing approach Chavasse diverts eight pallets of plaster boards from their usual supply route and places them in a curated studio space. The “life cycle “ of the piece starts before the fair opened and continues to function after it has closed, continuing the journey to the distributor to be sold and disseminated around various random construction sites. The viewer witnesses the temporary, “halted” arrangement, part of the journey of the piece, encouraging the visitor to debate the value of the art and the pragmatic and functional object's place in society. T
he pattern on the installation is created by marking each piece with a shipping stamp (the same ink as the one used by factory itself as a watermark), as evidence of it's passage through the art fair. The marks cause no structural damage to the piece and do not affect the functionality of the plaster boards, however the mark itself will slowly disappear while the material is used for its intended purpose.
PROJECT 88 MUMBAI
“STONE BREATH MOUNTAIN DUST” by Neha Choksi
Neha Choksi's booth lets the eyes wonder, it is wonderfully refreshing after being overloaded with visual information present everywhere around the fair. She depicts a simulacra of a "natural landscape" in an artificial space using film, drawings, a screen printed backdrop and brass and basalt sculptures scattered across the space like landmarks.
Choksi presents the material plasticity of her objects while working to destabilise the ideas of strength and hardness we attribute to both, reminding the viewer of perception and nature's distortion in the digital age.
SOUTHARD REID GALLERY
CELIA HEMPTON “TOR”
Initially displayed at The Serpentine Gallery early 2016 TOR is a sound performance and journey into the dark web and it's inhabitants. Painted penises, quick expressionist oil paintings of nudes posing on internet chat room, live session paintings of beheadings and murders framed by claustrophobic installations of stained sculptural walls, featuring projections of online chats and illegal internet searches on the dark web. Previously working predominantly with landscape (before her Vagina series) Hampton portrays the internet as a digitalized landscape of humanity. The project is referencing TOR, or The Onion Router, initially developed by the US Navy to operate as a hidden unit in a vast ocean of space, the software bounces your IP address to volunteer servers all around the world, so it remains hidden under layers of information.
Hempton provides the user with anonymity and access to content otherwise hidden to regular web users such as guns, paid murders or illegal pornography. Its content is much bigger than the regular internet, in fact what we use on daily basis is a small percentage compared to the capacity of dark web. TOR defies and denies the darkness featuring beautifully executed paintings of penises placed in crepuscular, confined and oppressive space.
HAUSER & WIRTH
‘L’ATELIER D’ARTISTES’ BY DJORDJE OZBOLT, PAUL MCCARTHY, LOUISE BOURGEOIS, HANS ARP, BERLINDE DE BRUYCKERE, THOMAS HOUSEAGO, HENRY MOORE, PIPILOTTI RIST, ALLAN KAPROV, FAUSTO MELOTTI AND ELLEN GALLAGHER, BHARTI KHER
Hauser & Wirth's booth is like a journey back in time, a romanticised nostalgic portrayal of The Perfect Artist immersed in myth and fable. The concept is particularly poignant as it has become increasingly harder for artists to carve out space and time to work within. The installation is an epitome of cliché, merging the work of various artists within the frame of a fictional single artist’s studio. Similarities between chosen pieces and their curation strips them of their individual characteristics. The project invites viewers to question the purpose of the museological practice of reconstructing artist studios, the tendency to abuse creative licence in the process and emphasises the impact of ‘staging’ on how art is perceived.
Photos and picks by artists Paulina Surys