The Best Shows in London During Frieze Week – 伦敦时装周最精彩的演出


The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出

Richard Wilson 20:50, 1987, installation view. Courtesy: © the artist and Hayward Gallery; photograph: Mark Blower

‘Space Shifters’
Hayward Gallery
26 September 2018 – 6 January 2019

‘Space Shifters’ amounts to a glorious architectural ego-trip for the Hayward Gallery’s freshly renovated and spunkily skylit galleries. Luscious coloured resin works from Californian Light & Spacers De Wain Valentine and Robert Irwin glow like sheeny Jell-O. The high ceilings hosts suspended works by Leonor Antunes (a new commission in brass and hemp rope), Daniel Steegmann Mangrané (lightly jangling chain curtains strung in ovals to echo the gallery’s stairwells) and Felix Gonzalez-Torres (the beaded curtain work “Untitled” (Golden), 1995).

The headliners here, though, are large-scale pieces that mess with perception, turning the orderly geometry of this Brutalist building’s interior to unexpected ends. Alicja Kwade’s mind-bending perceptual labyrinth WeltenLinie (2017) – a highlight of last year’s Venice Biennale – here gets the focus it deserves. Marrying boulders and tree stumps in stone, and various metals, Kwade’s work throws out questions about the nature of matter and space.

‘Space Shifters’ bows out on that much-loved London work, Richard Wilson’s 20:50 (1987): a narrowing walkway through a room half filled with oil, recently sold by the Saatchi Collection and soon to be installed at MoNA in Tasmania. However well you know the piece, seeing it in new architecture is to see it fresh.


The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出

Courtesy: the artist and Serpentine Galleries; © Kamitani Lab / Kyoto University and ATR

Pierre Huyghe
Serpentine Gallery
3 October 2018 – 10 February 2019

As yet untitled, and kept behind closed doors until the Tuesday opening, Pierre Huyghe’s first significant work since his 2017 Skulptur Projekte Münster installation, After ALife Ahead, introduces artificial intelligence into the environmental equation. Rather than excavate the floor, as in Münster, the artist has sanded into the gallery walls to expose layers of paint from previous exhibitions in the space, leaving fine dust that threatens to adhere to visitors’ garments, taking a journey through time on a journey through space.

Human visitors will be kept company by a large swarm of flies – fed on sugar up in the rotunda of the central gallery – and hints of an intelligent presence manifested on five large LED screens around the gallery. Continuing his exploration into artmaking without authorship, Huyghe has worked with a team in Kyoto using machine learning for Deep Image Reconstruction. A subject was asked to picture a set of images and ideas during a functional MRI scan: what we see is the resulting analysis of his brain activity as the AI searches to identify the image in his mind’s eye. There are smells, too. A neural network monitoring human activity in the gallery rounds off Huyghe’s new ecosystem.


The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出

Tania Bruguera, Hyundai commission, 2018, installation view, Tate Modern. Courtesy: Tate Modern, London; photograph: © Tate photography, Andrew Dunkley

Tania Bruguera
Tate Modern
2 October 2018 – 24 February 2019

The artist behind this year’s Turbine Hall Hyundai commission has history in the space. For Tania Bruguera’s 2008 work Tatlin’s Whisper #5 two members of the mounted police entered Tate Modern and conducted crowd-control tactics on the public. The horses, as Bruguera herself admits, are going to be a hard act to follow.

This new work will involve participants drawn from Tate Modern’s SE1 postcode – a group of neighbours rather than a community in a traditional sense, breaking through the big city tendency to live cheek-by-jowl yet somehow in total isolation. Bruguera has so far remained quiet about the new work, teasing only that her work somehow involves portraiture, sending out three clues on her Instagram feed. Clue #1: Gustave Caillebotte, The Floor Scrapers (1875); Clue #2: Hans Holbein the Younger, The Ambassadors, (1533); Clue 3#: Caravaggio, Narcissus (1597-9). A strong theme of reflective floors, then. But where does the collective action come in? And – this being Bruguera – the politics?


The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出

Amy Sillman, Y18, 2017, acrylic, gouache and ink on paper, 1 x 0.7 m. Courtesy: © the artist and Capitain Petzel, Berlin; photograph: John Berens

Amy Sillman, ‘Landline’
Camden Arts Centre
28 September 2018 – 6 January 2019

Such is Sillman’s humour and ripe, vivid sense of colour that even the darker works in this show – notably the vast double-sided installation of pictures Dub Stamp (2018) based on drawing made in the days following the election of Donald Trump – have a kind of hopefulness to them. The show includes drawings, prints and oils as well as animations and zines (available to buy: definitely GBP£1 well spent).

On paper, Sillman’s brushy, heavy-lined forms (legs, lungs, figures apparently hunched to puke or poo) appear in series, morphing from one sheet to the next. That tendency reaches satisfying expression in her drawn, painted and collaged animations. After Metamorphosis (2015–16), projected in the central hallway, takes its cue from Ovid as a series of animal and human forms mutate through one another in a long, delightful sequence. Hints of human figures and agricultural landscape stretch themselves across Sillman’s intensely coloured canvases – movement comes here, too, with silvery metallic paint that slithers disconcertingly in the light.


The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出

Hannah Wilke, Untitled, 1974-77, Terracotta, 3 x 152 x 152 cm. Courtesy: Alison Jacques Gallery, London

Hannah Wilke
Alison Jacques
27 September – 21 December 2018

Works spanning three decades by the pioneering feminist artist include the familiar – performance stills of Wilke using her body as a malleable, mouldable substance; arrangements made with clitoral buds of chewing gum – and the unexpected.

Chief among these are a trio of paintings from the early 1960s not shown since Wilke’s death in 1993. Using delicate, sherbet shades, Wilke unites crisp geometric panels with anthropomorphic forms suggesting the contorted female body. In their flattened abstracted approach to the feminine body, there’s a hint of Evelyn Axelle and perhaps Maria Lassnig, but the palette is disconcerting. Those colours are the commercial shades of soft ultra femininity: sanitary towel packaging, baby clothes, talc.

The tones are picked up in some of the glazes later used by Wilke in her folded labial sculptures, here shown not only in ceramic but also bronze, raw terracotta and latex. A large pinned many-petalled sculpture in muscle-red latex hangs like an altarpiece in the side room showing smaller, early works on paper, swimming with suggestive forms.


The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出

General Idea, study for Great AIDS (Cadmium Red Light), 1990/2018. Courtesy: © General Idea and Maureen Paley, London

AA Bronson + General Idea
Maureen Paley
30 September – 11 November 2018

AA Bronson, Felix Partz and Jorge Zontal met 50 years ago in Canada, living and working together as the collective General Idea from 1969 to 1994. Alongside conceptual exhibitions including ‘Going Through The Notions’ (1975) and ‘The 1984 Miss General Idea Pavilion’ (a hoarding for a fictional pavilion that burned down in a fictional fire), the trio were responsible for the experimental cultural journal FILE Megazine [sic]. The journal used the ‘found format’ of LIFE magazine – landing General Idea with a lawsuit from Time/Life in 1976 – and attracted contributions from countercultural figures from William Burroughs to Talking Heads.

General Idea’s first ‘AIDS’ painting – this time using the ‘found format’ of Robert Indiana’s LOVE (1967) – was created in the mid 1980s, after the group’s move to New York. It became the first work in the ‘Imagevirus’ series, a graphic intended to spread freely, infecting the city, but also normalizing a disease that was, by that point, already part of many people’s day-to-day. This celebratory exhibition will show paintings from the ‘Imagevirus’ series within a gallery hung with ‘Imagevirus’ wallpaper.


The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出

Felix Clay, Portrait of Kerry James Marshall, 2018. Courtesy: © the artist and David Zwirner, London

Kerry James Marshall, ‘History of Painting’
David Zwirner
3 October – 10 November

After the success of his 2016 retrospective ‘Mastry’ – which toured from the Museum of Contemporary Art in Chicago, to the Met and LA MOCA – what next for Kerry James Marshall? At David Zwirner he’s setting himself up with a grand, vainglorious gesture in a set of works grouped under the title ‘History of Painting’. ‘It seems to me the only way forward is to take up a challenge that seems so outsized as to present you with the real possibility of a massive failure’ he explained in a recent interview.

Marshall will address landscape, still life, portraiture, abstraction, and history painting, yes, but also the history of painting in terms of process and industry, from the acquisition of knowledge, through exhibition, auction, ownership and collection. In the moving image era, why make paintings? Marshall asks. The conclusion suggested by his arch auction house paintings – listing artworks as if they were second hand goods on a Xeroxed flyer (Untitled (Sotheby’s Sale), 2005) – is all rooted in big ideas and sheer enjoyment. 

For more shows on during Frieze Week head over to On View.

Main image: Tania Bruguera, Hyundai commission, 2018, installation view, Tate Modern. Courtesy: Tate Modern, London; photograph: © Tate photography, Andrew Dunkley

Hettie Judah

Hettie Judah is a writer based in London.

Critics’ Guides /

Frieze Week London
Critic's Guide
Hettie Judah
Tate Modern
Hayward Gallery
Camden Arts Centre
Maureen Paley
Alison Jacques Gallery
David Zwirner

空间移位。JPG WPA6021602IMG理查德·威尔森20:50,1987,安装视图。礼仪:艺术家和海沃德画廊;照片:马克·布劳尔“空间移徙者”号603003br海沃德画廊号603003br海沃德画廊号603003br2018年9月26日至2019年1月6日“空间移徙者”号相当于海沃德画廊新装修后的光荣的建筑自我之旅。狡猾的斯基利特画廊。来自加利福尼亚州轻安培公司(Spacers De Wain Valentine)和罗伯特·欧文(Robert Irwin)的色彩艳丽的树脂作品像闪亮的果冻(Jell-O)一样闪闪发光。高高的天花板上悬挂着莱昂诺·安东尼斯(黄铜和大麻绳的新委员会)、丹尼尔·斯蒂格曼·曼格纳(Daniel Steegmann Mangrané)的作品。瓦尔斯回声画廊的楼梯间)和Felix Gonzalez Torres(珠帘作品“无题”(金),1995)。不过,这里的头条新闻是大型作品,扰乱了感知,把这座残暴建筑内部有序的几何形状变成了意想不到的结局。Alicja Kwade扭曲心灵的感知迷宫WeltenLinie(2017)——去年威尼斯双年展的一个亮点——在这里得到了它应该得到的关注。夸德的作品结合了石头和树桩以及各种金属,提出了关于物质和空间性质的问题。《太空漂泊者》展示了伦敦最受欢迎的作品,理查德·威尔逊的《20:50》(1987):一条狭窄的人行道,穿过一个半装满油的房间,最近由Saatchi收藏公司出售,不久将安装在塔斯马尼亚的MONA。不管怎样,你都知道,在新建筑中看到它是新鲜的。皮埃尔_惠赫_-_蛇纹石_press_image_3.jpg The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出礼仪:艺术家和蛇纹石画廊;Kamitani实验室/京都大学和ATR皮埃尔惠赫
2018年10月3日-2019年2月10日皮埃尔·惠格自2017年安装雕塑家Projekte Münster以来的第一件重要作品《先行ALife Ahead》将人工智能引入到环境方程中。艺术家没有像明斯特那样挖掘地板,而是把沙子打磨到画廊的墙上,以暴露空间中以前展览的颜料层,留下细微的灰尘,可能粘在参观者的衣服上,在穿越空间的旅途中穿越时间。人类参观者将会被一大群苍蝇陪伴,这些苍蝇在中央美术馆的圆形大厅里摄取糖分,在美术馆周围的五个大LED屏幕上显示出智能存在的迹象。在没有作者的情况下,他继续探索艺术创作,并与京都的一个团队合作,使用机器学习进行深层图像重建。受试者被要求在功能性MRI扫描期间描绘一组图像和想法:我们看到的是当人工智能搜索以识别他脑海中的图像时,大脑活动的结果分析。也有气味。一个神经网络监控人类活动在画廊中巡视惠更斯的新生态系统。Bruguera_press_014.jpg The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出 Tania Bruguera,现代委员会,2018,安装视图,泰特现代。礼仪:泰特现代,伦敦;照片:泰特摄影,安德鲁·邓克利·塔尼亚·布鲁盖拉,泰特现代,603003br,2018年10月2日-2019年2月24日。塔妮娅·布鲁盖拉2008年的作品《塔林的叽叽喳喳喳喳》中,两名骑警进入泰特·摩登,对公众实施人群控制策略。正如Bruguera本人所承认的那样,这些马将是一个难以遵循的行为。这项新工作的参与者将从泰特现代的SE1邮政编码-一群邻居,而不是传统意义上的社区,打破大城市的趋势面面面相觑,但不知怎的还是完全孤立。到目前为止,Bruguera对新作品保持沉默,只是取笑她的作品以某种方式涉及肖像,在她的Instagram feed上发出三条线索。线索#1:Gustave Caillebotte,《扫地工》(1875);线索#2:Hans Holbein the Younger,TheAmbassars,(1533);线索3#:Caravaggio,Narcissus(1597-9)。一个强烈的主题反射地板,然后。但是集体行动在哪里呢?这是布鲁古拉-政治?b-asillman-17-0014_0_0.jpg The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出 Amy Sillman,Y18,2017,丙烯酸,水粉和纸上墨水,1×0.7米。礼貌:艺术家和柏林佩泽尔上尉;照片:约翰·伯恩斯·埃米·Sillman,'Landline'
Camden艺术中心2018年9月28日到2019年1月6日,这就是希尔曼的幽默和成熟,生动的色彩感,甚至更暗的作品也在这个展览中展出,尤其是基于唐纳德·特朗普当选后几天内所绘画的《杜布邮票》(2018)的广泛的双面安装。对他们有一种希望。该展览包括绘画、印刷品和油画以及动画和锌(可以买到:肯定花费了1英镑)。在纸上,席尔曼的毛茸茸、线条粗犷的形态(腿、肺、明显弯腰吐痰或大便)成串出现,从一张纸变到另一张。这种倾向在她的绘画、绘画和拼贴动画中达到了令人满意的表达。变形之后(2015-16),投影在中央走廊,从奥维德那里得到线索,一系列的动物和人类形态以一个长而愉快的顺序相互突变。人物和农业景观的影子在希尔曼色彩斑斓的画布上延伸开来——运动也来到这里,银色的金属漆在光线下令人不安地滑行。AJG-HW-0364A.JPG The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出 Hannah Wilke,无标题,1974-77,TealaCuta,3×152×152厘米。礼仪:艾莉森·雅克画廊,伦敦,汉娜·威尔克出版社可液化物质;用口香糖制成的阴蒂花蕾的排列方式和意外情况。其中最主要的是自1960年威尔克逝世以来,从上世纪60年代初开始的三幅绘画作品。威尔克用细腻的果子露色将清晰的几何图案与人形图案相结合,显示出女性扭曲的身体。在他们对女性身体扁平抽象的方法中,有伊芙琳·阿克塞尔和玛丽亚·拉斯尼格的暗示,但是调色板令人不安。这些颜色是柔和的超女性化的商业色调:卫生巾包装,婴儿服装,滑石。威尔克后来在她折叠的唇部雕塑中使用了一些釉料,这些釉料不仅用陶瓷,还用青铜、生陶器和乳胶来表示。一个用肌红胶乳钉的多瓣大雕塑像一个祭坛一样悬挂在侧屋里,上面画着更小、更早的纸质作品,以暗示的形式在游泳。Maureen-paley-aa-bronson-aids-logo-300.jpg The Best Shows in London During Frieze Week - 伦敦时装周最精彩的演出 General Idea,大艾滋病研究(镉红灯),1990/2018。礼貌:.通用理念和莫林·佩利,伦敦AA Bronson+通用理念603003br莫林·佩利603003br 9月30日-2018年11月11日,AA Bronson、Felix Partz和Jorge Zontr在加拿大会面,50年前作为集体的总理念一起生活和工作ROM 1969至1994。除了概念展览,包括“穿越概念”(1975)和“1984年总思想小姐馆”(一个在虚构火灾中烧毁的虚构亭的囤积),三人负责实验性文化杂志《FILE Megazine》(原文如此)。该杂志采用了《生活》杂志的“现成的格式”——1976年,在《时代/生活》杂志上提起诉讼,使《大创意》登陆,并吸引了威廉·巴勒斯(William Burroughs)的反文化人士对《健谈领袖》(Talking Heads)的贡献。通用创意的第一幅“艾滋病”绘画——这次使用的是罗伯特·印第安纳的《爱》(1967)的“发现形式”——创作于上世纪80年代中期,也就是该组织迁往纽约之后。它成为“Imagevirus”系列的第一部作品,该图旨在自由传播,感染城市,但也使一种疾病正常化,到那时,这种疾病已经成为许多人日常生活的一部分。这个庆祝展览将展出“Imagevirus”系列的绘画,画廊里挂着“Imagevirus”壁纸。JPG FelixCayayHuthHo.jpgWPA6026602IMG菲利克斯粘土,Kerry James Marshall肖像,2018。礼貌:艺术家和David Zwirner,伦敦克里杰姆斯马歇尔,“绘画的历史”WPAP60300 3BR David Zwirner WPA60300 3BR 10月3日- 11月10日在他的2016个回顾“MaLTY”的成功-这是从现代美术馆别致的旅行以前,对MET和La MoCA,接下来的是Kerry James Marshall?在David Zwirner,他在一组以“绘画的历史”为标题的作品中,以一种宏伟的、虚荣的姿态挺身而出。他在最近的一次采访中解释道:“在我看来,唯一的出路就是接受一个似乎过于庞大的挑战,向你展示一个巨大失败的真正可能性。”Marshall将演讲山水画、静物画、肖像画、抽象画、历史画,是的,但也就是绘画史上的工艺与产业,从知识的获取、通过展览、拍卖、所有权和收藏。在运动图像时代,为什么要画?Marshall问。他的拱形拍卖行画作的结论是——在复印的传单(无题(苏富比拍卖行,2005)上列出艺术品,就好像它们是二手货一样——都来源于b.


Comments are closed.