At the launch edition of Frieze Los Angeles (February 15-17, 2019), artist projects will be encountered around the New York Street backlot of Paramount Pictures Studios, in buildings, streets, and interior spaces that have been captured countless times on screen. Frieze Projects will create a disorienting atmosphere where visitors are in two places at once: an artificial New York City within Los Angeles.
“For the first edition of Frieze Los Angeles I invited artists who live, work or have histories with the city to develop projects responding to the fair’s untraditional site and context” said Curator Ali Subotnick. “Each artist has embraced the opportunity, and challenge, and the results are often magical and otherworldly, surreal and hyper-real, but never dull.”
Spanning performance, installation and sculpture, featured artists include Lisa Anne Auerbach, Sarah Cain, Catharine Czudej, Karon Davis, Cayetano Ferrer, Hannah Greely, Trulee Hall, Patrick Jackson, Barbara Kruger, Paul McCarthy, Kori Newkirk, and Tino Sehgal with more to be announced in the coming months.
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Lower East Side, Paramount Pictures Studios
Launched with the first Frieze Art Fair in 2003, Frieze Projects is an independently curated platform for artists to show ambitious, experimental work beyond gallery booths and outside the fair tent. Bettina Korek (Executive Director, Frieze Los Angeles) said, “As an extension of the fair’s programming beyond the booths, Frieze Projects asks artists to respond to the Paramount urban street backlot, a stand-in for a real city and a symbol of Los Angeles’s distinct and vast creative ecosystem.”
About the Projects
Leading guests from the fair tent to the streets of the backlot film set, stickers designed by Barbara Kruger will prompt visitors to contemplate philosophical questions such as “Who will write the history of tears?” “Are there animals in heaven?” or “Who salutes longest?”.
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Sarah Cain, Now I’m going to tell you everything, 2017. Installation view, Institute of Contemporary Art, Los Angeles, 2017 – 2018. Courtesy: the artist
Upon entering the studio backlot, Cayetano Ferrer’s dynamic wall piece will evoke New York’s vernacular architecture and signage. Inside the classic brownstone building, a generic domestic interior will be transformed by Sarah Cain with an all-encompassing painting installation that spreads from the walls to the floors and windows and that will also feature a new stained-glass piece, as well as chocolate service, one of the artist’s vices while painting.
Inside the neighboring apartment, Lisa Anne Auerbach will present one-on-one counselling sessions about collecting and creativity with a “Psychic Art Advisor.” Down the street, Karon Davis will present Game, a work that explores how schools have become a place for the hunted—our children—through dramatically staged life-size sculptures.
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Lisa Anne Auerbach, Psychic Center of Los Angeles [from American Megazine 2, 2014. 24 pages: 152.4 x 96.5 cm each]. Courtesy: the artist and Gavlak, Los Angeles and Palm Beach
Across the way, on a classic Brooklyn residential block, Hannah Greely will hang her paintings out to dry, on a clothesline spanning the apartment buildings. Creeping out from the drain at the bottom of the SoHo subway, Trulee Hall’s fluorescent serpent will snake its way in and out of windows and fire escapes, infesting the classic wrought-iron façade.
In a nod to an outdated mode of broadcasting, Kori Newkirk’s antennae sculptures will land haphazardly across the backlot like tumbleweeds blown from the rooftops, gathering colorful detritus along the way.
In the Upper East Side space, Tino Sehgal’s constructed situation, This is competition, will engage with the commercial activity of an art fair, as two gallerists compete to sell the artist’s work. From the theater, visitors will encounter a sub-level set for an interior domestic space, transformed by Patrick Jackson into a classic dark back alley—reflecting on the magic of movie-making.
On a nearby sidewalk, Catharine Czudej’s cartoonish representation of the archetypal American “Teamster”—inspired by a Chinese-made children’s toy—considers the position of working heroes in the real cities of America, and the fake ones we have imagined, both on the studio lot and elsewhere.
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Paul McCarthy, Daddies Tomato Ketchup Inflatable, 2007. Installation view, ‘Paul McCarthy – Air Pressure’, De Uithof, City of Utrecht, Netherlands, 2009. Photo: Misha de Ridder © Paul McCarthy. Courtesy: the artist and Hauser & Wirth
Finally, Paul McCarthy will present an intervention in the backlot’s financial district with a monumental inflatable artwork, exhibited in Los Angeles for the first time.
Additional outdoor sculptures by other international artists will be presented around the backlot and studio campus. Further details and artist projects will be announced in the coming months.
Sarah Cain，现在我要告诉你一切，2017。安装视图，洛杉矶当代艺术研究所，2017-2018。礼貌：艺术家在进入演播室后台时，卡耶塔诺·费雷尔的动态壁画将唤起纽约的白话建筑和标志。在经典的褐石建筑内部，一个普通的家庭内部将由Sarah Cain改造成一个包罗万象的绘画装置，它从墙壁延伸到地板和窗户，并且还将有一个新的彩色玻璃件，以及巧克力服务，这是艺术家在绘画时的一个缺点。在隔壁公寓里，丽莎·安妮·奥尔巴赫将与一位“心理艺术顾问”就收集和创造力进行一对一的辅导。在街上，卡伦·戴维斯将呈现《游戏》，这是一部探索学校如何成为被猎杀儿童的场所，以及如何通过戏剧性舞台展示真人大小的雕塑的作品。1.lisaanneauerbachdowntown.hic.jpg .Lisa Anne Auerbach，洛杉矶精神中心[摘自《美国杂志》2，2014.24页：152.4×96.5厘米。礼貌：画家和Gavlak，洛杉矶和棕榈滩对面，在布鲁克林的一个经典住宅区，Hannah Greely将她的画挂在横跨公寓楼的晾衣绳上晾干。Trulee Hall的荧光蛇从SoHo地铁底部的排水沟里爬出来，蛇行进出窗户，火势蔓延到经典的锻铁立面。为了向过时的广播方式致意，科里·纽科克的天线雕塑会像从屋顶吹来的滚草一样随意地落到后院，一路上收集着五彩缤纷的碎片。在上东区空间，Tino Sehgal的建筑情况，这是竞争，将参与艺术博览会的商业活动，因为两个画廊竞争出售艺术家的作品。从剧院，游客将遇到一个内部家庭空间的子级别设置，由帕特里克杰克逊转变成一个经典的黑暗后巷反映电影制作的魔力。在附近的人行道上，Catharine Czudej用卡通画表现了原型的美国“团队”——灵感来自中国制造的儿童玩具——考虑了美国真实城市中劳动英雄的地位，以及我们在演播室和其他地方所想象的假英雄。mccar37856-mccar22970-mccar37905.png Paul McCarthy, Daddies Tom.Ketchup Inflatable, 2007.安装视图，’保罗麦卡锡-空气压力’，德维索夫，乌得勒支市，荷兰，2009年。照片：米莎·德·里德尔_保罗·麦卡锡。礼貌：艺术家和豪泽&安普·威尔斯。最后，保罗·麦卡锡将首次在洛杉矶展出一幅具有纪念意义的充气艺术品，来干预后街金融区。其他国际艺术家的户外雕塑作品将在后院和工作室周围展出。进一步的细节和艺术家项目将在未来几个月内公布。FRIZE特稿 ARThing编译
