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    “Hyegyung Kim: Media Bowha (寶貨 – A Treasure)”
    On view through December 31st, 2016

    The Korean Cultural Center New York is pleased to present a special installation, Media Bowha (寶貨 – a treasure) by Hyegyung Kim in the Center’s unique space, the sarangbang, as part of the Call for Artists 2016 program.

    The Korean Cultural Center New York is pleased to present a special installation, Media Bowha (寶貨 – a treasure) by Hyegyung Kim in the Center’s unique space, the sarangbang, as part of the Call for Artists 2016 program.

    Sarangbang (사랑방), a traditional Korean reception and study room, was a multi-use space for male scholars and noblemen in the Joseon Dynasty. The space involves various elements of traditional Korean culture. Nowadays, the use of the room is open to everyone and has expanded to a more interactive space. To reflect these changing interpretations of the sarangbang and to emphasize its communicative power, Hyegyung Kim has been selected to feature a work that engages with this specific room.

    While the new technology of the times has been often reflected in handicrafts in the past, today’s state-of-the-art technology lies in media. Hyegyung Kim is a media artist who engrafts art and technology in her own individual way; the combination of today’s technology with traditional Asian art goes further by harmonizing opposing elements such as light and darkness, existence and non-existence, movement and static. The artist’s intention of showing the coexistence of the conflicting clauses is an invitation to the audience to breathe together with the art.

     

    About the Artist

    Hyegyung Kim (b.1974, Seoul) works in traditional Asian art, visual multimedia design, and installation. She acquired MFA in Digital Media Design at Hongik University in 2011, and currently in a doctoral program in Visual & Multimedia Design at Hanyang University in Korea. Kim has been the subject of many exhibitions including Media “Between” (MEDIA間) at the Korean Cultural Center Osaka in 2014, and Philosophy in the Museum at Sangwon Museum of Art in 2013. She is also a recipient of 2015 New Art Wave International Artist Award.

    Organized by the Korean Cultural Center New York
    Music and sound by Hyun Il Cho

     

    Gallery Korea
    Korean Cultural Center of New York
    460 Park Avenue 6th Fl, New York, NY 10022
    Tel: 212 759 9550 (ext. 204)
    www.koreanculture.org

    Vincenzo Dauria October 2016

    Selected Artworks:

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    – Dimension- I figured, size living simultaneously and overlap with each other, experiencing similar but different moments or maybe the same emotions.

     

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    – Parlarci dentro- indicates the which to speak with the Others, help Others or each other, not to mention only with themselves, the willingness to talk, really, with the other lacks, we built an alter ego with which to solve our problems of conscience.

     

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     -Parlarci dentro-

     

    i-thinc-positive

    -I think Positive-Together stronger is the key to having a sustainable and livable future, all live together with respect for each other, no insane jealousies but building a world dialogue interfacing between us intelligently without arrogance and false ideology of being better to bypass others in a world that’s all, live in dialogue with each other to be Together stronger.

    LIVE from the NYPL: Marina Abramović in Conversation with Debbie Harry
    Friday, October 28 @ 7pm
    The New York Public Library, Stephen A. Schwarzman Building
    Fifth Avenue at 42nd Street
    SOLD OUT
    Livestream available here
    nypl.org/live

    Known for her performance art, in which she bares her body and presence in the most intimate of ways, Marina Abramović now offers insight into the person behind the work—her ruminations, her thoughts, her experiences—in her new memoir, Walk Through Walls. In celebration of her captivating oeuvre, LIVE welcomes her to its stage in conversation with Blondie’s Debbie Harry. 

    MARINA ABRAMOVIĆ has pioneered performance as a visual art form, creating some of the most important early works since the beginning of her career in Belgrade during the early 1970s. The body has always been both her subject and medium, withstanding pain, exhaustion and danger in her quest for emotional and spiritual transformation. She has presented her work at major institutions in the US and Europe, including Berlin’s Neue National Galerie and the Museum of Modern Art, Oxford. She has also participated in many large-scale international exhibitions including the Venice Biennale (1976 and 1997) and Documenta VI, VII and IX, Kassel (1977, 1982 and 1992). In 2010, Abramovic had her first major U.S. retrospective and simultaneously performed for over 700 hours in “The Artist is Present” at the Museum of Modern Art, New York.  Awards include the Golden Lion for Best Artist at the 1997 Venice Biennale; the Austrian Commander Cross for her contribution to Art History; and Officer to the Order of Arts and Letters in France. Abramovic founded the Marina Abramovic Institute, a platform for immaterial and long durational work to create new possibilities for collaboration among thinkers of all fields. 

    DEBBIE HARRY is a vibrant global force and shaper of pop culture, with chart-topping success, more than 40 million albums sold worldwide, acclaimed solo projects, and a fearless spirit and rare longevity that led to an induction into the Rock ‘N’ Roll Hall of Fame for Blondie in 2006. With Blondie, one of the most trailblazing and influential bands of our time, she and co-founder Chris Stein brought the worlds of rock, punk, disco and ska together, and broke ground by combining hip-hop and pop. She continued to defy expectations with genre-busting efforts as a solo artist. As an actor she has over 30 film and television roles to her credit. 

    Learn more

    Courtesy of The New York Public Library

    10–11 November, 2016 at Sotheby’s

    David Bowie was a musician, actor and icon, as well as a publisher, curator and magazine editor with Modern British art at the heart of those passions. Born in South London, it’s perhaps no surprise that he was drawn to chroniclers of the capital’s streets such as Harold Gilman and Frank Auerbach while he also collected St Ives-based painter Peter Lanyon in particular depth. However, his collection is by no means limited to British art alone and also encompasses Contemporary African art, self-taught artists from Vienna’s Gugging institution, as well as designs by Ettore Sottsass and the revolutionary Memphis group. Click ahead to see selected highlights from the collection, set to be unveiled in its entirety in the coming weeks and months.

    Learn More

     

     

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    Learn More:  www.paddle8.com/auction/groundswell

    Beginning October 28, 2016, Dominique Lévy will present Joel Shapiro, the first survey exhibition of early wood wall reliefs by renowned American sculptor Joel Shapiro. Created between 1978 and 1980, these colorful small-scale works will be complemented by a major new site-specific installation work by the artist. The exhibition aims to illuminate the trajectory of Shapiro’s career, revealing a decades-long exploration of color and mass that has culminated in his recent body of room-size sculptural installations.

    Organized by Olivier Renaud-Clément, Joel Shapiro will be on view through January 7, 2017. Dominique Lévy will publish a monograph in conjunction with the exhibition featuring texts by David Raskin and Phyllida Barlow and a poem by Peter Cole, as well as complete documentation of Shapiro’s early wood wall wall reliefs.

    Since 2002, Joel Shapiro has worked with the idea of form collapsing in large-scale installations, which he describes as “the projection of thought into space without the constraint of architecture … I can get the work off the floor and be more playful in the air.”  For his exhibition at Dominique Lévy, Shapiro will create a new site-specific installation in this series, filling the entire second floor of the gallery’s space with painted rough wood elements suspended in air by means of fishing line connected to the floor and ceiling. To create such works, Shapiro cuts the wood and paints it with hyper-saturated dry pigment in casein emulsion. The composition formed in space is so rigid as to appear pregnant with imminent motion: the string is pulled taut to create a sense of “torque and twist… so it feels like it’s going to rip away.” Shapiro has spoken of these installations as being “expansive” and “joyful” in their refusal to be “limited by architecture and by the ground and the wall and right angles.”  Decisions regarding the configuration of the wooden elements and their coloration are made intuitively and spontaneously as Shapiro installs the work. Thus, each installation presents an intense engagement with space, implicating both the existing architecture and viewers’ bodies in the sculpture. Shapiro invites visitors to walk through the work, to confront and be confronted by it: “It reconfigures, which is some essential aspect of sculpture, it unfolds in time and space.”

    Shapiro’s early work, including the intimately scaled and delicately colored wood wall reliefs on view at Dominique Lévy, emerged in part as a response to Minimalism’s “specific objects,” which prioritized color, texture, weight, shape, and the dynamic relationship between object and space. However, Shapiro’s wall reliefs—like his more well-known bronze and plaster floor sculptures, also on view in the exhibition—challenge Minimalism’s insistence on the non-referential, reintroducing ambiguous states of psychological intensity and hinting at non-linear narratives. The referential quality of his work is never explicit; the sculptures appear simultaneously abstract and figurative. Of this, Shapiro has said, “My problem was to describe an emotional state, my own longing or desire … The work is about my experience, and if you care to participate, to look, then you bring your own history to the situation.”

    In the wall reliefs of the 1970s and 80s, traces of the artist’s hand interrupt the neutral geometric vocabulary of Minimalism. These sculptures are made of simple shapes and angular cutouts, built up in stratified layers of distinct wood elements. This mode of fabrication, recorded in unconcealed saw marks, makes Shapiro’s process visible and rewards a close viewing. Shapiro often coated these reliefs in a light, uniform coat of color, allowing the underlying wood to remain partially visible. In painting the works a single color, the artist bound the forms together under a cohesive rubric, creating volumetrically dense structures. For Shapiro, painting his sculptures presents several opportunities: color affects our perception of structure; while monochromatic works are legible as compact, self- contained forms, multi-colored works appear as complex dimensional stratifications. Color also introduces an emotional component that, according to the artist, has an “intrinsic metaphorical quality. It is not only perceptual, but can have cultural connotations as well.”

    About the Artist
    Born in New York City in 1941, Joel Shapiro has explored the possibilities of sculptural form throughout his forty-five year career.  Since his first solo exhibition at Paula Cooper Gallery in 1970, his work has been the subject of numerous solo and retrospective exhibitions at institutions including the Whitechapel Gallery, London, 1980; the Whitney Museum of American Art, New York, 1982; the Stedelijk Museum, Amsterdam, 1985; the Walker Art Center, Minneapolis (jointly with the Nelson-Atkins Museum, Kansas City), 1995-96; the Iris and B. Gerald Cantor Roof Garden, Metropolitan Museum of Art, New York, 2001; and the Museum Ludwig, Cologne, 2011. Shapiro’s work can be found in numerous public collections in the United States and abroad, including the Museum of Modern Art, the Whitney Museum of American Art, and the Metropolitan Museum of Art, New York; The Art Institute of Chicago; the San Francisco Museum of Modern Art; the Los Angeles County Museum of Art; the Tate Gallery, London; IVAM Centre Julio González, Valencia; the Stedelijk Museum, Amsterdam; the Moderna Museet, Stockholm; and the Musée National d’Art Moderne, Centre Georges Pompidou, Paris.

    In 1993 he installed a permanent work, Loss and Regeneration, at the United States Holocaust Memorial Museum in Washington, D.C. Other prominent commissions and works in public space include Conjunction, for the Foundation for Art and Preservation in Embassies for the United States Embassy in Ottawa, Canada; For Jennifer, commissioned by the Denver Art Museum; and Now, commissioned by the Foundation for Art and Preservation in Embassies and installed in 2013 at the new U.S. Consulate in Guangzhou, China.

    Shapiro was elected to the Swedish Royal Academy of Art in 1994 and the American Academy of Arts and Letters in 1998. The French Minister of Culture awarded Shapiro the Chevalier dans l’Ordre des AERts et des Lettres in 2005, and in 2013 he was honored with the National Art Award for Outstanding Achievement by Americans for the Arts. In April 2015 he was awarded the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center.

    In 2014 Shapiro exhibited a new sculptural installation at Paula Cooper Gallery, recent work on paper at Pace Gallery, and sculpture from the 1970s at Craig F. Starr Gallery, New York. In the spring of 2014, Shapiro exhibited sculpture in wood, bronze, and plaster at Galerie Karsten Greve, Paris, which subsequently travelled to Galerie Karsten Greve, Cologne, in January 2015.

    In May 2016 Shapiro exhibited a new sculptural installation at the Nasher Sculpture Center in Dallas, Texas.

    Joel Shapiro lives and works in New York City.

    Dominique Levy
    909 Madison Avenue, at 73rd Street, New York, NY 10021
    Phone:(212) 772-2004
    www.dominique-levy.com
    Courtesy of Dominique Levy, New York

    WR Auction Gallery Inc. is pleased to announce that our October auction will feature the fine Chinese decor of renowned NYC restaurant, Mr. K’s. We will be auctioning off the restaurant’s collection of art and furnishings including its agate/jade/stone carvings, porcelain & ceramics, silk wall hangings, and personalized chopsticks it had custom-made for celebrities and politicians who dined at its restaurant.

    The auction will be on October 17th at 11AM (ET).

    Buyers can bid online via LiveAuctioneers at:
    www.liveauctioneers.com/catalog/94537_october-estate-sale/
    or invaluable at: www.invaluable.com/catalog/searchLots.cfm?scp=c&catalogRef=RTS5TUJ0N8
    Absentee bidding and phone bidding will also be available. Unfortunately, floor bidding will NOT be available.

    Please email us at wrauctiongalleryinc@gmail.com or visit our website http://wrauctiongalleryinc.wixsite.com/auction for more information.

    Even though the legendary Mr. K’s has permanently closed its doors, you can relive your experience there or feel what it was like to have dined there by owning an item from this restaurant’s art collection. We hope you will join us on auction day.

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    By Ron Johnson

    “What we have to learn to do, we learn by doing.”  ~ Aristotle

    What is inspiration?  Where does it come from?  For J.T. Kirkland it was a fortuitous trip to Musee D’Orsay on a hot day in Paris.  Kirkland, who was studying and later received his degree in Economics, recalls this visit as his “ah ha” or “got it” moment.  He remembers being absorbed by the Impressionist and Post Impressionist works of Van Gogh and Monet.  From this moment on J.T. was hooked, purchasing a sketchbook and exploring any museum he could find in Europe.  He dove right into the art world headfirst.

    Entering the Shockoe Arts Space (Richmond, VA) I was immediately surrounded by J.T.’s paintings, 78 of them to be exact.  There are different bodies or series of paintings, although they are all titled Subspace, with a corresponding number denoting the works individuality. Some works are angularly shaped surfaces; they range in scale and seem to be arranged loosely as series. A number of works align with a Colorfield painting style, where the surfaces are fields of stained or painted flat and one color areas and consistent.  Others seem to be more closely related to Expressionism, where the painting is more emotionally charged though its brushwork strokes. There are works that leave the woods natural grains exposed, as J.T. says is his love of the natural forms found in wood, which was a possible influence of his dad’s woodworking.  There are works that are more hard edge geometric abstractions.  While there is a variety of mark making devices the exhibit as a whole is incredibly connected by bright color, surface and regard.  As Ryan Lauterio, the director of the space proclaimed, “it’s loosely a mid-career survey.”

    Wandering around the space I’m struck by the vastness and compression of the exhibit and the individual works.  It is like being in a Hubble Telescope photograph surrounded by galaxies all around.  Subspace 154, and works in this series completely exemplify this compression. There is a pressure that exists between the outer parts of the painting, where the painted geometric area appears to turn towards the “voidish” center.  The compression and twisting towards the middle is as if we are being vacuumed into a black hole.  The pressure created is palpable and pulls the viewers into the work

     

    An artist friend of mine, Christian Bonnefoi, once told me, imagine that our making, as artists, are all like circles or ellipses. These circles will always bisect with different artists, or creative movements of others, that we are inspired or influenced by, however brief and then go the way of the individual.  Because of his path, J.T. in many ways has a no holds barred attack of painting, one that allows an uninhibited practice.  There is a certain joy to this and to this exhibition, you can feel the excitement and the love he has for each piece. But without inspiration, influence and risk art gets left behind.  And as J.T. knows part of risk is being willing to take that leap.

    Frieze London 2016 Highlights: including Museum Acquisition Funds, Talks, Sculpture Park & Pioneering New Section

    The 14th edition of Frieze London will take place a week earlier this year, opening 6–9 October with a Preview Day on Wednesday 5 October. This year’s fair brings together more than 160 of the world’s leading galleries, showcasing today’s most significant artists across its main and curated sections, alongside the fair’s celebrated non-profit programme of ambitious new artist commissions and talks. In 2016 the fair will debut a new gallery section, The Nineties, recreating seminal exhibitions from the decade, alongside the return of sections Focus and Live, the definitive platforms for emerging galleries and performance art respectively. Frieze London coincides with Frieze Masters and the Frieze Sculpture Park, convening art of the highest quality from a spectrum of periods and countries and offering collectors, scholars and art enthusiasts an unparalleled cultural experience.

    Frieze London is supported by main sponsor Deutsche Bank for the 13th consecutive year, continuing a shared commitment to discovery and artistic excellence.

    Building on Frieze’s enduring relationship with collecting institutions, this year, the fair partners with two acquisition funds for national museums, including the the Frieze Tate Fund, now supported by WME | IMG; and the launch of the Contemporary Art Society’s Collections Fund at Frieze, supporting a regional museum in the UK.

    Victoria Siddall, Director, Frieze Fairs said, ‘Frieze has become known for its strong curated sections and this year I am particularly excited to see Nicolas Trembley’s selection of artists who changed the conversation in the 1990s. This adds to the great range and diversity of work shown throughout the fair by the world’s leading galleries. I am also thrilled that we will have two official museum acquisition funds at the fair this year, including the Frieze Tate Fund – this was used to purchase Tate’s first-ever performance work at Frieze Art Fair 2004, Roman Ondák’s Queue, which was shown for the recent opening of the new extension. In the fair’s non-profit programme, Raphael Gygax will give a new perspective on Frieze Projects, contributing to the many elements which will make this an unmissable week.’

    Institutions at the Fair: Tate, Contemporary Art Society & Allied Editions

    This year sees the realization of two acquisition funds for national museums, in- cluding the return of the Frieze Tate Fund, this year supported by WME | IMG.

    •    Established in 2003 as the first acquisition fund connected to an art fair, the 2016 Frieze Tate Fund will provide £150,000 for Tate to acquire works of art at Frieze London this October. To date, Tate has acquired 100 works at Frieze London, with 12 major pieces currently on view at Tate Britain and Tate Modern. The Tate acquisition will be announced on Thursday 6 October
    • In addition, Frieze welcomes the Contemporary Art Society as a new partner, making possible the acquisition of a major new work for a selected regional museum. The Collections Fund at Frieze currently stands at £50,000, including a match-funded gift, which was awarded to Middlesbrough Institute of Modern Art after a competitive application process open to the Contemporary Art Society’s 70 Museum Members across the UK. The acquisition will be announced on Wednesday 5 October, at 3pm in the Reading Room at Frieze London
    • Allied Editions will also return to the fair with an increased presence and guest regional partner Nottingham Contemporary. Over five years of collaboration with Frieze London, Allied Editions has raised over £500,000 in unrestricted funds to benefit its partner organisations.

    A New Section: The Nineties

    Pierre Joseph Character to Be Reactivated (Superman), 1992 Cibachrome print 90 × 60 cm Courtesy of the artist and Air de Paris, Paris.

    Pierre Joseph Character to Be Reactivated (Superman),
    1992
    Cibachrome print
    90 × 60 cm
    Courtesy of the artist and Air de Paris, Paris.

    Selected by Geneva-based curator Nicolas Trembley, galleries will revisit seminal exhibitions from the 1990s, highlighting key collaborations between dealers and artists that have had a lasting impact on contemporary art. Following significant institutional attention to this decade – from the New Museum’s 2013 exhibition ‘NYC 1993’ to the group show ‘Récit d’un temps court’ currently on view at Mamco (Geneva) – this ambitious section will recreate critical moments that first took place in galleries across London, Paris, Cologne and New York. The Nineties features galleries that are both new to the fair and presented within the main section, as well as era-defining spaces that no longer exist.

    Solo presentations include:

    •    Wolfgang Tillmans’s very first exhibition at Daniel Buchholz’s gallery in 1993, then located in his father’s Cologne bookshop;
    •    Anthony Reynold’s 1996 gallery debut of Richard Billingham’s iconic series of photographs ‘Ray’s a Laugh’, which brought the artist to notoriety (and was later included in the ‘Sensation’ exhibition at the Royal Academy in 1997);
    • Esther Schipper (Berlin) will recreate Dominique Gonzalez-Foerster’s iconic room installation R.W.F. (Rainer Werner Fassbinder) from 1992; and
    •    Neu Gallery (Berlin) will bring together important works by Daniel Pflumm, a central figure of 1990s Berlin, collapsing boundaries between art, electronic music production and nightlife

    Iconic shows to be revisited include:

    • Aperto ’93 – the exhibition at the Venice Biennale conceived by Helena Kontova and Giancarlo Politi, which introduced a generation of artists to the global stage including Maurizio Cattelan, Carsten Höller and Rikrit Tiravanija. (Massimo De Carlo gallery, Milan); and
    • Christian Nagel’s 1992 group exhibition ‘Wohnzimmer / Büro’ (Living room / office), including the original wallpaper designed by Jörg Schlick (Galerie Nagel Draxler, Berlin).

    The World’s Leading Contemporary Galleries

    James Turrell Cockle Creek, 2015 Elliptical wide glass. L.E.D. light, etched glass and shallow space 82 x 50 ¾ inches © James Turrell. Courtesy Kanye Griffin Corcoran, Los Angeles. Photo credit: Robert Wedemeyer.

    James Turrell
    Cockle Creek, 2015
    Elliptical wide glass. L.E.D. light, etched glass and shallow space
    82 x 50 ¾ inches
    © James Turrell. Courtesy Kanye Griffin Corcoran, Los Angeles. Photo credit: Robert Wedemeyer.

    Frieze London 2016 draws together 119 galleries to present ambitious solo and themed exhibitions across its main section, with new additions for 2016 including Miguel Abreu, Matthew Marks Gallery and Metro Pictures (all New York).

    Highlight presentations will include

    • An immersive light installation by James Turrell with Kayne Griffin Corcoran (Los Angeles), who will take part in Frieze London for the first time;
    • Philippe Parreno’s new sculptural work (Pilar Corrias Gallery, London), conceived in conjunction with the artist’s commission for Tate Modern’s Turbine Hall; and
    • ‘L’atelier d’artistes’: Hauser & Wirth’s exploration of the uncanny in reconstructing artist studios, revealing the tendency towards creative license.

    Monographic and group presentations by major female artists can also be seen across the main section, including:

    •    Goshka Macuga (Galerie Rüdiger Schöttle, Munich);
    •    Latifa Echakch (kamel mennour, Paris);
    •    Francis Upritchard (Kate MacGarry, London);
    •    Penny Siopis (Stevenson, Cape Town);
    • Channa Horwitz with Ghebaly Gallery (Los Angeles) which moves into the main section from Focus;
    • The Third Line (Dubai) will bring together works by iconic and emerging artists Sophia Al Maria, Rana Begum, Monir Shahroudy Farman- farmaian and Huda Lutfi; and
    • P.P.O.W (New York) will present four generations of feminism with Carolee Schneemann, Betty Tompkins, Portia Munson, Aurel Schmidt and Erin Riley, featuring Munson’s seminal work Pink Project (1993)

    Live: performance and participation

    Advised by museum curators Jacob Proctor (Neubauer Collegium for Culture and Society, University of Chicago) and Fabian Schöneich (Portikus, Frankfurt), the pioneering section for performance and participatory art returns, with new and historical projects presented in a dedicated space within the fair:

    Highlights include:

    • The international premiere of Para um corpo…, from the series ‘Hábito/ Habitante’ by Martha Araújo (Galeria Jaqueline Martins, São Paulo & PM8, Vigo), bringing to light the significance of performance art in Latin America under military dictatorship; and
    • In the first installation of its kind at the fair, the groundbreaking Berlin- based artist Christine Sun Kim, who has been deaf since birth, will explore the materiality of sound through performance, opening up new fields of perception to hearing and non-hearing audiences alike (with Carroll/ Fletcher, London).

     

    Focus: emerging talents

    Celia Hempton Ben, 2015 Oil on polyester 25.5 x 30.5 cm Courtesy the artist and Southard Reid Photo credit Lewis Ronald.

    Celia Hempton
    Ben, 2015
    Oil on polyester
    25.5 x 30.5 cm
    Courtesy the artist and Southard Reid
    Photo credit Lewis Ronald.

    Also advised by Jacob Proctor and Fabian Schöneich, Focus is the definitive destination to discover emerging talents from Berlin to Shanghai, featuring 37 galleries under 12 years of age. A wave of new-generation London galleries join Focus for the first time this year, including:

    • Chewday’s showing Gabriele Beverage alongside idols from the Neolithic period (10,000 – 2,000 BC);
    •    Arcadia Missa showing London-based artists Jesse Darling, Dean Blunt, Hannah Quinlan and Rosie Hastings;
    •    Seventeen, with an immersive virtual reality project by Jon Rafman; and
    • Southard Reid showing an all-over painting installation by Celia Hempton.

    Taiwan and Guatemala will be represented at Frieze London for the first time:

    •    Newcomers Chi-Wen Gallery will present video work by Yin-Ju Chen;
    • and Proyectos Ultravioleta will show new painting and collage by Elisa- beth Wild and Vivian Suter

    The section will also build on strong representations from the emerging scenes in New York, Los Angeles, Paris, Shanghai and Berlin, offering a platform for ambitious work by Liu Chuang (Magician Space, Beijing), Aaron Garber- Maikovska (High Art, Paris) and Liz Magic Laser (Various Small Fires, New York).

     

    Frieze Sculpture Park

    The Sculpture Park will be open from 5 October 2016 – 8 January 2017, with free entry to all. Selected by Clare Lilley (Director of Programme, York- shire Sculpture Park), 20 works by 20th-century masters and contemporary talents will be placed throughout the English Gardens of The Regent’s Park, creating a free outdoor exhibition at the centre of London.

    For the first time, Art Fund is the programming partner for the Sculpture Park, presenting workshops for the duration of the three-month exhibition as well as the new-look Frieze Sculpture Guide App, available to download from 5 October.

    Featuring works presented by galleries participating in Frieze London and

    Frieze Masters, contemporary highlights include:

    •    Optic Cloak by Conrad Shawcross, a six-metre-high study for his major 2016 commission for the Greenwich Peninsula (Victoria Miro, London)
    • New monumental bronzes including Neptune/Rescue (2016) by Matthew Monahan, recently on view at the National Roman Museum in Palazzo Altempts (Massimo De Carlo, Milan); Treat (2016), an amorphous sculpture by Nairy Baghramian, winner of the 2016 Zurich Art Prize; and International Institute  of Intellectual Co-operation, Configuration 11, Last Man, a key element from Goshka Macuga’s celebrated exhibition at Fondazione Prada, Milan.

    Frieze Talks

    Curated by Christy Lange (Frieze) with Gregor Muir (Executive Director, ICA, London and incoming Director of Collection, International Art, Tate), Frieze Talks will bring together today’s most influential artists, writers, curators and thinkers.

    •    For the first time, Frieze Talks presents a special daily series focusing on a single, urgent theme – ‘Borderlands’ – with contributions from Fatima Al Qadiri, Alexandra Bachzetsis, Hannah Black, Josh Kline, Jill Magid and Ben Rivers, among many others.;
    • In addition, lively and intimate conversations with leading cultural figures will include a keynote lecture by the legendary Jamaican dub musician and producer Lee ‘Scratch’ Perry; and a special discussion inspired by the 25th anniversary of frieze magazine, with Julia Peyton-Jones, Adrian Searle, Wolfgang Tillmans and Jane and Louise Wilson.

     

    Frieze Art Fair Stand Prize & Focus Stand Prize

    This year, two prizes of £5,000 each will recognize outstanding gallery presentations at the fair.

    • Awarded to a gallery in the main or Nineties section, the Frieze Art Fair Stand Prize will be judged by Martin Clark (Director, Bergen Kunsthall), Dr Omar Khalif (Manilow Senior Curator at the Museum of Contemporary Art Chicago) and Helen Molesworth (Chief Curator, Museum of Contemporary Art, Los Angeles). The winner will be announced on Wednesday 5th October.
    • Awarded to a gallery in the Focus section for galleries aged 12 years or under, the Focus Stand Prize will be judged by Gary Carrion-Murayari, (Kraus Family Curator, New Museum), Martin Clark (Director, Bergen Kunsthall) and Yung Ma (Curator, Service Création Contemporaine et Prospective, Centre Pompidou) and Judith Welter (Director, Kunsthaus Gla- rus). The winner will be announced on Thursday 6th October.

     

    Frieze Projects

    Coco Fusco La Botella Al Mar De Maria Elena, 2015. Courtesy Alexander Gray Associates 2016.

    Coco Fusco La Confesión, 2015 Courtesy Alexander Gray Associates

    Supported by the LUMA Foundation and curated for the first time by Raphael Gygax (Migros Museum für Gegenwartskunst, Zurich), the non-profit programme of artist commissions will feature Sibylle Berg & Claus Richter; Martin Soto Climent; Coco Fusco (UK debut, co-commissioned with Liverpool Biennial); Operndorf Afrika (Opera Village Africa); Julie Verhoeven; and Samson Young. The winner of the 2016 Frieze Artist Award is Yuri Pattison.

     

    Frieze Film

    Samson Kambalu Dancer in the Woods , 2014 Digital video, color 34 sec Courtesy of the artist and Frieze.

    Samson Kambalu
    Dancer in the Woods, 2014
    Digital video, color
    34 sec
    Courtesy of the artist and Frieze.

    Samson Kambalu, Rachel Maclean, Shana Moulton and Ming Wong

    will present new artist films, premiered at Frieze London and broadcast on national television. Curated by Raphael Gygax and forming part of the fair’s non-profit programme, Frieze Film 2016 continues its long-standing partner- ship with Random Acts, Channel 4’s short-form strand dedicated to the arts.

    Frieze Music:

    Frieze Music, The Vinyl Factory and Hayward Gallery will present a unique evening on 6 October, in conjunction with ‘The Infinite Mix’. Taking place at The Store, 180 The Strand and produced in collaboration with Jeremy Deller, this special event will feature a live performance by Cecilia Bengolea with DJs The Heatwave and special guests. Drinks courtesy of The Store Kitchen.

     

    Frieze Sounds

    Curated by Cecilia Alemani (High Line Art, New York) and presented with BMW, Frieze Sounds will present the UK premieres of new sound commissions by Giorgio Andreotta Calò, GCC and Liz Magic Laser.

     

    The Reading Room

    Returning for a second year, the Reading Room offers visitors the opportunity to meet writers, editors and artists in book signings and presentations, hosted each hour by the world’s leading arts publications. Highlights include:

    •    Financial Times: In conversation with artist Cai Guo-Qiang (Friday 7th)
    • Artnews: In conversation with the artist Richard Billingham – also featured in the Nineties section (Thursday 6th)

     

    Guided Tours with Frieze Bespoke

    Frieze Bespoke – a personalised tour for those interested in collecting art – returns for a third year. Visitors will have the opportunity to explore the fair guided by an independent art world professional, with their specific interests, budgets and art backgrounds in mind.

    Learn More

    Courtesy of: Frieze London and Frieze Masters

     

     

    “In my belief, art is the source of pure energy and truth, obsessively mirrored in the ritual of creation. My new works are a continuation of the process of creating art for art’s sake.”
    –  Jerzy Kubina, July 2016

    Selected artworks ‘Between Light and Shadow’ :

    emotion_x_2012_82x145

    Emotion

    Space 9-13

    green-in-the-rust

    Green in the Rust

    windows-of-memory

    Windows of Memory

    Jerzy Kubina was born in Zamosc, Poland; he studied at the Academy Of Fine Arts in Krakow during the communist regime, and graduated with a masters degree in painting. In 1986 Kubina moved to New York and began to experiment with installations and large scale paintings, and in 1991 he spent a year living and working in Paris. Kubina uses a variety of techniques to create layers, textures and translucency in his work. His studio process is akin to that of a laboratory; he constantly challenges himself to discover something exciting, always looking for new techniques to express his emotion.

    In addition to being widely exhibited in the US, including at the legendary and highly esteemed OK Harris ​in SoHo and well known Louis XIV gallery in Paris, Kubina’s work has been shown internationally, in France, Poland and Mexico.

    On view till October 22nd, 2016 at:

    Square Peg Gallery
    website www.squarepeggallery.com

    www.jurekkubina.com

     

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