Tom Burr: Renewing “Renovations” Maggie Lee in the EAI Archive
Valeria Napoleone Applauds A.I.R. Daniel Shea: City Camera
THE SHED, NEW YORK MAY 18–22 2 0 22 FRIEZE WEEK
Carlomar Rios on Collecting from Scratch Charlap Hyman & Herrero: Design’s Dynamic Duo
DynamicDesign’s37 Duo Adam
A Pioneering Art Space at 50
Triumphant10 A.I.R.
EducationSentimental28
Maestro41
Matthew McLean, Creative Lead, Frieze Studios
By Daniel Shea
5MAY 18–22 2 0 22FRIEZE WEEK NEW YORK
Becoming a Collector AndreHymanCharlap&Herrero Dobel With MexicanosClásicos City
The14 New Class Leaders Transforming the City’s Museums Deutsche22 Bank ErinPresentingO’Keefe
Fair56 Map
Frieze New York turns ten this year, but it’s still only the fair’s second year at its new home: The Shed. The privilege of Frieze taking place in a setting known for its worldclass programming and extraordinary architecture has informed the contents of this issue of Frieze Week, which focuses on the pioneering work of museums, institutions and project spaces across the city. We celebrate the work of Electronic Arts Intermix, which will screen a selection of videos from its archive at the fair (p. 6); salute A.I.R. Gallery as it turns 50 (p. 10); meet some of the curators who are leading change at spaces from Dia to The Kitchen (p. 14); and look ahead to the John Giorno Foundation’s programming at the late artist’s house on the Bowery (p. 58). Our cover is by the Ukrainian, New York-based photographer Sergiy Barchuk. It was originally intended to run alongside a piece on the sometimesdecadent ritual of art dinners (p. 8), but, with war in Ukraine, and famine in Yemen, maybe it also functions as a kind of memento mori: a reminder to enjoy the food on your plate while you can, before it perishes. Tuck in.
La24 Prairie Creating with Carla Chan
Bunker58 Buster A Historic Home Comes Alive
An Artist in the EAI Archives
Hunger8 Games On the Art Dinner
6 8 14 28
Unreal48
Global Lead Partner Deutsche Bank Frieze New York Partner Global PartnerMediaPartnersGlobal On the Cover ©Photograph:SergiyBarchuk, 2022 Frieze Week is printed in the UK by Stephens & George and published by Frieze Publishing Ltd © The2022.views expressed in Frieze Week are not necessarily those of the strictlyofreproductionUnauthorizedpublishers.anymaterialisprohibited. CONTENTS
In6 the Mix
Flickr had just launched and everyone had their own website; the internet was cool and I liked music like Nurse with Wound and Susan Lawly. All of this, and what I was looking at and into, was so abrasive and abject. But also not. I was a 20-somethingyear-old, nice college student studying fine arts in New York.
Trecartin’s video is very trippy. He made it for his thesis project at Rhode Island School of Design (RISD). It’s about this troubled teenager, Skippy, who is played by Trecartin. Skippy locks himself in the bathroom during a party at his house. Meanwhile, the party goers, played by Trecartin’s classmates, have dissociated conversations. Everyone is styled in thriftstore clothing and cakey makeup. Skippy cuts himself with a kitchen knife and later gets fatally hit by a car. It’s pretty messed up, but then he comes back to life when his friends’ band plays. One influence seems to be John Waters’s Pink Flamingos (1972).
The first time I took 4-AcO-DMT was on Halloween, in a mansion deep in Brooklyn, when I was on a date. My date was wearing a towel doused in “corpse scent,” which is used for police-dog training, and I was wearing this bat shirt with goth lace wings. The walls were covered in fake blood and the Victorian furniture with plastic covers, and there were freaky jars everywhere. I sat quietly in the 1930s, teal bathroom as I began to peak.
Maggie Lee is an artist. She lives in New York, USA.
The sets in the video are complex artworks in their own right. Some of the walls are made of wrapping paper. The performances are satirical and nonsensical: 2000sThisdada.work is so RISD. How fun would it be to film and be on set with your friends? It’s so do-it-together and underground. It’s special: everyone speaks in this hyperspecific way and has a certain attitude, which I like to call “Ryanism.”
Founded in New York in 1971, Electronic Arts Intermix (EAI) is a nonprofit arts organization and leading resource for video and media art. Works in the collection range from seminal videos by Ulysses Jenkins, Joan Jonas, Bruce Nauman, Nam June Paik and Martha Rosler to new digital pieces by Maggie Lee, Takeshi Murata, Paper Rad, Ryan Trecartin and other artists. For full details of the screening program, visit frieze.com.
Everyone looked like a character from Trecartin’s video. I was officially having an experience. There was this sickly, pale woman in an old-timey Gunne Sax dress and bonnet covered in blood.
Though I haven’t watched it in a while in actually, like, 14 years Ryan Trecartin’s A Family Finds Entertainment (2004) was my introduction to video art.
She helped me, and I was so scared, but also so excited to tell her that this was A Family Finds Entertainment
NEW YORK NONPROFITS 6MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
This page Ryan Trecartin, A Family Finds Entertainment, 2004.
Courtesy: © Ryan Trecartin and Electronic Arts Intermix (EAI), New York
Recently, I looked at the photos I took with my Canon ELPH at that long-ago Halloween party and realized that the char acters from A Family Finds Entertainment were actually there. It was real!
Shin explains: “It’s called Go to Whole Foods, and if you don’t like what you see, change it! It’s yours, health is a universal concern, health is yours go to Whole Foods and take what is yours.” I thought that was really beautiful. I like beautiful things.
In my favorite scene, Shin (also played by Trecartin) and Phalangena (Alison Powell) are making a healthy, vitamins-andwater-bottle sculpture with hot glue.
Family is actually poison. In one scene, Skippy comes out as gay to his deranged parents and they encourage him to find a new home. How rude.
IN THE MIX
For over 50 years, Electronic Arts Intermix (EAI) has supported video artists by preserving and distributing moving-image work. Artist Maggie Lee who is featured in a screening program at Frieze New York celebrating the nonprofit’s contributions remembers one of her favorite pieces from the archive, Ryan Trecartin’s A Family Finds Entertainment
BREGUET.COM TRADITION 7597
When I started my first job in the art world a decade ago, the dinner seemed to me the embodiment of the inner sanctum, the holy of holies. Once I got in there, I thought, with a seat at the table, a name card on the tablecloth, I will truly have arrived. The rehearsal for life was going to be over. That this didn’t transpire, that the rehearsal goes on, says nothing unique about the art world, but perhaps more about the roving quality of ambition and the slipperiness of satisfaction: the way in which, wherever you get in life, the main event still seems to be happening in another room. But this fact needn’t be a downer. After ten years and somewhere between ten and 100 dinners, the best approach to these events I’ve heard comes from the gallerist, writer and podcaster Alissa Bennett. Speaking on the NOTA BENE podcast in 2021, Bennett explained she always sends a text message to whom ever she’ll be seated with that evening: “I love to give a warning: We’re going to have fun tonight.” Not a threat, or a promise: but a good intention.
Of course, the art dinner can take varying forms, whether thrown that is, paid for by a gallery, museum or private collector, held to mark the opening day of a show, or to fete a particular achievement, it takes place in a restaurant, members’ club, rented venue or even someone’s home. Most workplace parties enact a similarly uncomfortable ritual, with genuine affection, office politics and professional standing all stewing in booze, but I can’t imagine any other sector in which such an event is so specifically charged. This is because relationships are, in many ways, the bedrock of the art business.
Opposite ©Photograph:SergiyBarchuk, 2022
“That’s what they do in the rich culture, is meals.” The words are those of Neff Davis, a Manhattan concierge quoted in Jessica Pressler’s 2018 New York magazine feature that retells the rise and fall of Anna Delvey, the infamous, so-called art-world grifter. Inventing Anna (2022), Shonda Rhimes’s fictionalized Netflix adaptation of the same story, makes dinners central to its protagonist’s campaign to be acknowledged by the art world: while the camera pans across a cluster of unknown types gabbling around a long table, Delvey surveying them at its head, a voiceover asserts that: “Anna knows excellent salmon is at Lucien; that, back in the day, the best dish at the Waverly was the Amish Chicken; not anymore now it’s disgusting. ”
But besides artists, doesn’t everyone at the art dinner have certain steps to perform in this “tap dance?” While the dealers who need to sell art and build relationships most clearly need to be danc ing, so might the museum staff, whether they’re soliciting artistic connections or donor support. Surely, too, even collectors can’t just sit back and relax at a dinner: if they don’t listen intently to a nearby curator, might they miss a promising new discovery? I regularly wonder what role I am meant to be playing at an art dinner, when I am lucky enough to be invited
It is strange to see this usually private ritual depicted on-screen. Art dinners are, in a sense, the inverse of the industry’s definitively public vehicle for promoting art: the exhibition. If an exhibition’s telos is to be attended and enjoyed by as many people as possible, the art dinner is instead predicated on being open to only the few. Away from the brightly lit, white gallery, where there’s no admission fee and even complimentary beers are provided in a bucket at the “private view,” the dimmer space of the art dinner is where the wheels that drive this public largesse are greased and begin to turn.
unequal way) the paid labor done by serving staff. The Irish, France-based art ist Justin Fitzpatrick has been exploring the figure of the waiter as a parallel for the (queer) artist: part of his 2020 exhibi tion at Seventeen gallery in London, in Omega Salad tuxedo-ed servers appear blushing as two bug-like beings embrace on a plated-up piece of lettuce, while in Chef’s Table: France (both works 2020) a prostrate Maschinenmensch-like figure welcomes diners into his open maw. In an interview, Fitzpatrick draws on his own experience working in food service, reflecting that beyond the physical tasks of restaurant work, waiters “are also obliged to present the right kind of face, to perform service in the right kind of way to please the client.”
“These dinners are highly functional,” a New York-based artist responds when I grill them about art dinners over Direct Message. They continue: “If the actual deal isn’t made there, which usually it isn’t, it’s where the relationships are formed. That’s how new artists get collectors and opportu nities, by going to dinners they’re invited to and being introduced to people. You’re supposed to tap dance, but personally I feel it’s gonna be worse if I put on an air. So, if I don’t feel like it, I just don’t say a word to Attendinganyone.”anart dinner is certainly work, then but of a special kind that requires you should never look like you’re working. In this way, the affective efforts of guests at a dinner parallel (in a queasy,
Matthew McLean is creative lead of Frieze Studios. He lives in London, UK.
For a certain group of people in New York, the week of the fair will mean one thing: a lot of art dinners. Why are these dinners so important to the art world, what’s the best way to behave at them, and what are they for? Matthew McLean makes some modest proposals
HUNGER GAMES
8 ESSAY MAY 18–22 2 0 22FRIEZE WEEK NEW YORK
to one and especially when the dinner is one I’m delighted to be at I want to perform well: to be not just a nice guest but a valued invitee. But how do I make my invitation feel justified?
What I appreciate about Bernstein is her courage. In the 1960s, she made work speaking out against war in Vietnam and, in 2017–18, her exhibition at the Drawing
While there is a growing diversity in the arts, the journey is still a long one. It will take the effort and courage of many people and institutions. If you’re interested in this journey, I don’t think you can find a more powerfully authentic institution to follow than A.I.R.
I love the imagery of the painting, which is very bold, depicting a “cock” and a “cunt” (to use Bernstein’s words), but I also
The piece takes up almost an entire wall and people do sometimes find it overwhelming for its size, colors and content. I have not had to explain it to my children I think most people get what it is about when they see it. Though, when it was installed, I remember refer ring to the face with the cock and the art handler said: “Really? I thought it was an elephant!” I have it installed across from a Lisa Yuskavage nude (True Blonde, 1999) and a Nicole Eisenman foam piece
The gallery’s mission to highlight work by women artists continues undeterred with its commitment to younger generations and to community-building, including the complex landscape of gender fluidity and nonbinary identities.
Below Judith Bernstein, Birth of the Universe #33, 2014. Courtesy: the artist and Kasmin Gallery, New York
I first encountered Judith Bernstein’s work when she had her solo show at London’s Studio Voltaire in 2014. Bernstein spent one month in production residency there, and made a massive installation across the site’s former chapel building and a second exhibition space, including the largest wall painting she had ever done at the time. The wall painting was so intense, and so labor intensive I was impressed with her energy. Her energy is really contagious.
In 1972, 20 women co-founded A.I.R., the first not-for-profit, artist-led gallery for female artists in the US. Among them was Judith Bernstein, the trailblazing feminist painter, who turns 80 this year. Collector and patron Valeria Napoleone celebrates the milestone birthdays of both Bernstein and A.I.R., and looks to their bright futures
Bernstein was one of a group of 20 women artists who first founded A.I.R. Gallery in New York in 1972. It was groundbreaking, since at that time there was very little opportunity for women artists to show their work. I’ve been visiting A.I.R. since the beginning of my art journey, when it was still on Wooster Street in SoHo. As a young woman and a new collector, I felt like a child going to school, ready to be taught and to grow. I would try to learn everything I could. I had already decided I was going to focus on collecting work by women artists, but it was places like A.I.R. that really helped me understand just how necessary this was. The archive they have there are amazing and what impressed me especially was the camaraderie. In the same way, what stood out to me, more than individual shows, was the energy of the space with its community-building and networking values. This sense of community and mutual support remains key to A.I.R.’s mission. That’s what is really inspiring.
From the Studio Voltaire show, I bought the large painting Birth of the Universe (2014). I was drawn at first to the color palette there’s a beautiful blue in there, which is fluorescent under black light.
find myself getting lost in the paint. The composition and brushstrokes make me look at the work in an abstract way.
As we look forward to the next 50 years, it’s clear to me that the work of A.I.R. is not done that the art world has not changed as much as it sometimes appears.
ARTIST-RUN SPACES 1 0MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
TRIUMPHANT A.I.R.
As told to Matthew McLean
Valeria Napoleone is a patron, collector and member of the advisory board of A.I.R. Gallery. She lives in New York, USA, and London, UK. For more information about A.I.R., visit airgallery.org
called Saggy Titties (2007), where the sub ject’s breasts hang down past the borders of the canvas. There is a great conversation between these pieces about the woman’s body and deep-pink colors.
Center in New York was a statement against Donald Trump. She’s an artist for whom recognition has come later in life, but she doesn’t have an inch of regret or anger at being “overlooked.” She’s always excited about her current work and next project. I find that inspirational.
www.limna.ai Be confident in how much an artwork should cost, and why. The AI-powered Art Advisor in your Pocket
888-DYURMANDAVIDYURMAN.COM
PROFILES 14MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
THECLASSNEW
A raft of recent appointments across the city has brought new leadership to some of New York’s most influential and beloved cultural institutions, at a time when the public discourse about injustice and the need for social change means the role of museums and art spaces is being profoundly rethought and reframed. Rhizome’s Makayla Bailey profiles some of the key figures shaking it up. Portraits by Daniel Shea
For Naomi Beckwith who joined the Solomon R. Guggenheim Museum and Foundation as Deputy Director and Jennifer and David Stockman Chief Curator last year art is never separate from the world around it. Beckwith questions the notion that artists are lone geniuses, finding ways for us to see their practices as part of a “community formation,” as she tells me. Building on this framework, she positions artists within a relational environment that includes family, friends and creative communities, opening up new interpretive possibilities for each work. “I’m particularly interested in artists acting as engaged citizens rather than simply visionaries who create nice forms,” she explains.
FOUNDATIONANDMUSEUMGUGGENHEIMR.SOLOMON
Over the last few years in particular, Beckwith stresses, artists have been at the forefront of
efforts to imagine alternative political formations. Central to these endeavors are cross-disciplinary practices, she notes, citing as examples the For Freedoms collective, an artist-run platform for creative civic engagement and direct action, Carrie Mae Weems’s 2021 exhibition “A Land of Broken Dreams” at the Logan Center in Chicago, and the initiative to preserve Nina Simone’s childhood home in Tryon, North Carolina (spearheaded by Ellen Gallagher, Rashid Johnson, Julie Mehretu and Adam Pendleton, who purchased the home together in 2017).
By framing art within its social contexts, Beckwith is also stewarding a necessary realignment of institutional priorities at the Guggenheim. A notable example of this agenda is “Forothermore,” a major retrospective of
Nick Cave’s work, curated by Beckwith in her former role as Manilow Senior Curator at the Museum of Contemporary Art Chicago, which will travel to the Guggenheim this fall. The most comprehensive museum survey of Cave’s work to date, the exhibition spans fashion, sculpture, immersive installations, videos and performances. It showcases the artist’s desire for “a safer and more equitable world,” as Beckwith describes it, for those marginalized by society.
15MAY 18-22 2 0 22FRIEZE WEEK NEW YORK BECKWITHNAOMI
16MAY 18-22 2 0 22FRIEZE WEEK NEW YORK ERICKSONR.JESSE
the preservation of literature, history and culture? How can we reframe our understanding of the canon in a way that celebrates more voices both within and beyond its current limitations?
Erickson’s predecessors at the Morgan including Lawrence Clark Powell, Sydney Cockerell, Belle da Costa Greene, Miriam Matthews and Arturo Schomburg have helped shape his view of what it means to work at an institution devoted to “the preservation and curation of collective cultural memory.” For Erickson, literacy is an expansive concept that he wishes to expand further by confronting the exclusionary history of rare books and special collections, increasing cross-cultural competency and building bridges between different cultures and generations.
Appointed Astor Curator and Department Head of Printed Books and Bindings late last year, Erickson has developed a curatorial, peda gogical and research-based practice that draws on his experience in rare-book librarianship and education at the Getty Center and University of Delaware. His commitment to promoting
Jesse R. Erickson is committed to understanding the role of books as both objects and vectors for the transmission of knowledge and global cultural heritage. Approaching the collection of the Morgan Library & Museum with the aim of identifying its existing strengths while foster ing greater diversity in its acquisitions, Erickson is building towards a future in which the literary production of knowledge engages audiences of all ages and backgrounds.
A number of questions animate his present concerns: What is the nature of time and our relationship to it? Who is benefitting most from
Erickson emphasizes engagement with the cultural canon as a means to an end. In this framework, historical work allows us to better understand how the concept of “high” culture is constructed and how it operates in society. He sees his practice as promoting a dynamic exchange between objects and periods, one that is constantly shifting as the world evolves.
MUSEUM&LIBRARYMORGANTHE
diversity and inclusion did not start as a reaction to the recent national debate, but rather has always been at the core of his professional mission to, as he tells me, undertake “labor, intellectual and otherwise, that deals specifically with the preservation of history and culture.”
18MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
Akili Tommasino’s tenure as Associate Curator at The Metropolitan Museum of Art began in 2021, in a moment when the historic institution is redefining itself. Prioritizing contemporary art and an interdisciplinary, interdepartmental perspective, Tommasino’s upcoming slate ranges from acquisitions of work by historically marginalized artists to exhibitions that include contemporary commissions, a cross-departmental, collection-based display and a major thematic, transhistorical and interdisciplinary loan-based show. Tommasino is working hard to expand the reach and impact of the museum’s collection andHavingactivities.begun his curatorial career 15 years ago with an internship at MAMbo Museo d’Arte Moderna di Bologna, Tommasino holds a
As a native New Yorker, Tommasino is keen to strengthen The Met’s connections to the local communities to which he belongs; the son of
TOMMASINOAKILI ARTOFMUSEUMMETROPOLITANTHE
immigrants from the small Caribbean islandnation of Saint Vincent and the Grenadines, his heritage also informs his approach to uplifting marginalized narratives in the history of art. Citing The Met as a museum he routinely cut high school to visit, Tommasino strives to bring a remnant of that adolescent wonder and curiosity to his present work. He describes his position as a “dual role” institutional ambassador and community advocate and believes that his curatorial remit is primarily to assert rather than decry. “There is a tendency to cast the curator of color as disruptive,” he tells me, “any change I represent I endeavor to be constructive.”
breadth of experience that is underscored by his expertise in modern art. While it is this lens that shapes his view of contemporary art and emerging practices, he traces the roots of his forthcoming transhistorical and interdisciplinary projects to a childhood passion for the history of ancient cultures. These nascent interests vigorously pursued as a youthful visitor to the Brooklyn Museum, then a teenage devotee of New York’s museums, and later an overseas student in Italy give him a special role to play at The Met, a museum that represents 5,000 years of human creative endeavor: to inquire, to contextualize and to expand.
Born and raised in the East Village to a geron tologist mother and photographer father, former Studio Museum curator Legacy Russell grew up in a period when what she refers to as “the collection” of artistic institutions in New York was a complex and rigorous cultural hub. When we spoke, she cited a mentor who once said: “Institutions weren’t built to love us. If you want to be loved, go home and build that there.”
as a nexus of artful play, risk-taking and ground breaking performance.
The possibility that art spaces could one day be a kind of home, offering us a hard-earned love, guides Russell’s plans for The Kitchen an artist-centered space founded in 1971, dedicated to experimental new media, art and performance which she joined as Executive Director and Chief Curator in 2021. At the heart of these plans is a greater generosity towards
RUSSELLLEGACY KITCHENTHE
community and audience, a shift prompted by the challenging and transformative experiences of the last two years. Russell is now stewarding programming that goes beyond one-off perfor mances and exhibitions that run for limited periods of time. Instead, she plans a shift to a model of longer duration: “not only in the sense that we will have expanded runs of projects, but also in that the organization will commit to more fully resourcing our collaborations with artists,” enabling the program to have “a more maturated structure of learning and public engagement.” Russell believes this mission-driven shift will further cement The Kitchen as an “unparalleled site of cultivation and radical care for the next generation of the avant-garde.” A planned renovation will re-invigorate the space
As well as a curator and academic, Russell is also an award-winning writer, with her book Glitch Feminism (2020) notably focusing on gender, performance, digital selfdom, internet idolatry and new-media ritual through the idea of the digital “glitch.” By deliberately broadening the definition of “avant-garde” and engaging critically in what it means to steward a dynamic and emotionally and culturally intelligent institution, Russell wants to take the opportunity “to address head-on the failures of art, right alongside proposing the future of it. That’s The Kitchen.”
2 0MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
Jordan Carter, who was appointed Curator of Dia Art Foundation in 2021, emphasizes the centrality of radical hospitality in his process, privileging both artist and artwork and building relationships with makers across categories and institutions. For example, a forthcoming Stanley Brouwn exhibition, highlighting the practice of the celebrated, late conceptual artist, marks a continuation of Carter’s work at the Art Institute of Chicago, where he co-curated Brouwn’s first US museum solo show with Ann Goldstein in 2021. Taking the form of a room-sized piece that will go on view at Dia Beacon next spring, this show constitutes Dia’s first presentation of Brouwn’s work in its almost 50-year history.
21MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
which will be presented at Dia in 2024. Rowland’s work which exposes the institutional structures that perpetuate racial capitalism and, in turn, racial and socioeconomic inequities goes beyond exploring categories of identity. His project chimes with Carter’s own process-oriented curatorial mandate, which challenges limiting conceptions of what it means to enlarge the canon.
and risk” in ways that transform our under standing of art’s history, present and institutional contexts. Spread across 11 locations from the industrial Dia Beacon to land-art sites through out the US and abroad Dia enables him to com mission projects that innovate through scope, timeline and scale. Carter believes that artists should not be engaged as mere ciphers for their demographics nor as vehicles for broadening a canon. Rather than seeking to define the terms under which an artwork is experienced, he aims to develop meaningful collaborations over time, celebrating the creative possibilities that emerge when an artist’s goals differ from those of the institution.Followingthis ethos, Carter is overseeing a forthcoming commission by Cameron Rowland,
For Carter, radical hospitality in curation is, he tells me, about “hosting artists and publics
CARTERJORDAN FOUNDATIONARTDIA
physics, with colorful shapes springing forward in 3D. Deception is achieved through the mimicry of contrasting media. A Josef Albers-like finesse with color creates an illusion of transparency, of floating; yet the grainy-wood texture, visible in the valley of a ribbon of blue and the raw appearance of brushstrokes, imitates painting, revealing the artist’s process. In this way, elements of the composition advance and recede simultaneously, resulting in a series of doubletakes that seem to happen in a millisecond. “It’s this visual ambiguity that is captivating,” says Britta Färber, Chief Curator of the Deutsche Bank Collection. “It really changes perspectives within itself.” Following O’Keefe’s inclusion in the exhibition “Ways of Seeing Abstraction Works from the Deutsche Bank Collection,” at the PalaisPopulaire in Berlin, Deutsche Bank is organizing a solo presentation of the artist’s work online and in person at Frieze New York 2022; Färber has also included pieces by O’Keefe in the recently installed collection at the bank’s new US headquarters on Columbus Circle in New York.
In her New York studio, O’Keefe uses geometric wooden shapes and boards, which she carves, paints, arranges and finally photographs, creating abstract still lifes with bewildering optical effects. She resists stable categories even down to the use of matte paper. By removing the glossy surface commonly associated with the printed photographic medium, O’Keefe gives prominence to the painterly texture of her brushstrokes, visible at a closer glance. Though she has never wanted to be a painter, her photographs resemble paintings and each image is unique. In this way, she poses a response to the prime question photography wrestles with today: why press print?
Explore Deutsche Bank’s presentation of works by Erin O’Keefe online on Frieze Viewing Room throughout the fair. Discover more about O’Keefe and other artists showing at Frieze New York by tuning in to Art:LIVE, in collaboration with Deutsche Bank: an insider view of the fair featuring interviews with artists and insights from expert voices. Scan the QR code for access:
22 FRIEZE PARTNER: DEUTSCHE BANK MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
two-dimensional images. She cites as examples certain pictures of Le Corbusier’s Beistegui Apartment in Paris, in which the deceptive photography turns the sky into a ceiling and back again. Her first exhibition, at Cornell University’s John Hartell Gallery in 1993, was inspired by how the facade of the building in Johannes Vermeer’s The Little Street (1657–58) “holds together the other views into the depth of the space.” She presented two vertical, free-standing sculptures, which functioned like periscopes. Façade 9 Square and Façade 4 Square (both 1993) were “each fronted by large mirrors with a series of periscopes attached to the back, forming a shallow box.” She was “trying to collapse all of these disparate views onto one surface,” specifically “with the mirror, which itself kind of dematerializes.” As in Vermeer’s painting, O’Keefe’s use of different visual illusions collapses and expands perceived space.
Puzzle Pieces
At O’Keefe’s studio, we spoke about instances of things not being as they seem, from Jan Dibbets’s “Perspective Corrections” (1967–69) to the artist’s experience of an optical illusion at James Turrell’s Roden Crater project in Arizona, where what appeared to be a circular skylight at the end of a tunnel turned out to be an ellipse opening cut into the ceiling. “It really shifts your mind, eye, body awareness.”
Fan mail is one sign of success. For artist Erin O’Keefe, a confirmation that her work had found a receptive audience came when the writer Amy Herman asked for permission to reproduce her photographs in Fixed: How to Perfect the Fine Art of Problem Solving (2021). In this book, O’Keefe’s work is used to challenge readers’ default thinking, prompting them to reassess the images before them.
The essence of O’Keefe’s work is persistent experimentation, the hunt for puzzling juxtapositions of form and color through dizzying triumphs of aesthetic engineering. In Shadowing (2022), elements of the piece’s elusive subject seem to defy
Lola Kramer is an independent curator and writer. She lives in New York, USA.
Above Erin O’Keefe, Almost Time, 2022
Space collapses and extends in the code-defying work of Erin O’Keefe
After finishing her art degree, O’Keefe studied in the architecture graduate program at Columbia University, where she grew fascinated by how three-dimensional spaces are often conveyed through
Describing the rooftop of Le Corbusier’s aforementioned apartment, as seen through images, O’Keefe says: “There’s a wall that wraps the rooftop, and a tiny bit of the top of the Arc de Triomphe pops up and then there’s this structure that you go into where there’s a periscope.” In this way, “you get the view of the city, but onlyAftersecondarily.”myvisitto O’Keefe’s studio, a friend asked me what her work was like. I told him that her photographs are in a book about pausing to think before taking something at face value. His response was: “That’s good life advice.”
Above Carla Chan during her artistic residency with La Prairie, 2022
FRIEZE WEEK
During my first La Prairie residency, I was introduced to the Glaciology Department at ETH Zurich. The work they do to raise awareness of glaciers and their fragility is very touching. Part of the proceeds of the NFT work I am making will go to support their research.
FW Environmental considerations are questions of what trace we leave on the world. How do you think about your legacy as an artist?
CC The power of the internet is that any idea I put into the world can stay a long time: people can write about it, read about it, good or bad. In this way, I don’t really
CC Hong Kong is my hometown, and Tai Kwun is one of the best venues for art and culture. It’s also the biggest space I’ve ever had a solo show in; I am creating a gigantic video installation on a screen that is five meters across and five meters tall, with an AR work that will be sitespecific to Tai Kwun’s high ceilings. As a young artist, I have learned to “think big.” The most fantastic part of being an artist is when you’re full of ideas, when you really get inspired.
In my first residency, thinking about glaciers and how they change, I became excited about creating an artwork that is constantly shifting. These 366 NFTs
FW La Prairie describe the light setting on Lac Léman and diffusing in the morning as an inspiration for their Pure Gold Radiance Nocturnal Balm. How did your experience of this phenomenon influence the development of Fading Space of Dawn?
FW Can you tell us about your other current and upcoming activities for example, your exhibition at Tai Kwun in Hong Kong?
FW How will AR feature in the work and what led you to this technology?
24 FRIEZE PARTNER: LA PRAIRIEMAY18-22 2 0 22FRIEZE WEEK NEW YORK
CC During most of the residency, it was raining. The rain was very subtle: it was beautiful. I spent a lot of time looking at the raindrops hitting the surface of the lake, that microdrama. Weather patterns are a part of nature, too. I wanted to bring this into the installation, which I’m doing through Augmented Reality (AR).
CC I don’t want to tell people what to think. It’s not my goal or my way of making art. The beauty of art is a language that is unspoken. A void can be filled with imagination. But I do want to build a feeling of urgency around something that is fading. We can still see a glacier today but will we be able to in 15 years?
CC This is my second time working with AR and I wanted to take the medium further than what we are now used to: I need to feel the immersion. What I am creating will be like a room of virtual rain, fading to black ashes of snow and the dark of the clouds: as you walk around the installation, you will see this whole weather scenario through your phone. It’s going to be quite a cinematic experience. We’ve mapped the space and created a specific design for the choreography of the AR weather, so the installation becomes site-specific to Frieze New York. AR is a new step because you can replace the physicality of the screen. You’re so familiar with your phone, it’s almost invisible. It almost disappears as a medium, which reflects the theme of Fading Space of Dawn itself.
know what traces I will leave. But there are collective ideas or behaviors that we can encourage through art, which might leave a legacy. To be “sustainable” is to think about more than one period of time: the more you consider sustainability, the more likely you are to leave a legacy.
Before Sunrise For her La Prairie collaboration, Carla Chan explores the night
are built with Smart Token Labs on the Ethereum blockchain: they will use realtime meteorological data, so the artworks are always changing. In this way, I am entrusting control to other parties: the NFTs will continue beyond me.
CC The first residency I did was up in the mountains at the Monte Rosa hut and this time I stayed beside Lac Léman, one of the largest lakes in western Europe. I was thinking of the journey of water, from the glaciers on the mountain to the waters of the lake. Its status changes, and visually something disappears. In this transition is something unseen. As a subject, it offers the chance not just to portray the beauty of nature but to go into a more reflective space.
CC I am drawn to the contradiction of using technology to protect nature. In all my work, I try to mesh something hard with something soft; I love that challenge. It’s like finding the poetic part of the machine.
FW Tell us about the NFT: what form will that take and how does it stand in relation to the “physical” installation at the fair?
CARLA CHAN
CC I’ve been approached about NFTs many times, but for me, to just create a GIF or a video and put it on the blockchain would be pointless. What I am really in awe of is blockchain technology and the way it can harness the power of the internet, which is a kind of people power.
FW You’ve described the work as a response to “the moment when nature disappears into the darkness and vanishes into the unseen.” What drew you to this phenomenon?
Carla Chan is an artist. She lives in Berlin, Germany.
Carla commissionChan’sis on view in the La Prairie Lounge at Frieze New York throughout the week. Discover more about the collaboration and Pure Gold Radiance Nocturnal Balm at laprairie.com
Can you explain the evolution of your thinking from Space Between the Light Glows (2021), shown at the last Frieze New York, to Fading Space of Dawn (2022), which is premiering at this year’s fair?
I’m honored to be working for a second time with La Prairie: having a longer period with a project allows you to work and think more in-depth. For the first piece, I was obsessed with the changing light, the colors and hues of the “golden hour,” which I observed on a residency in the Swiss Alps. This time, I am continu ing that journey, from the golden hour when the sun sets to the time before dusk, going into darkness.
FW By exploring the darkness between dusk and dawn are you con necting with themes of peril, or risk, in our relationship with nature?
FW The fact that the NFTs will have a kind of “afterlife” is intriguing in relation to your thinking on the ephemerality of landscapes. How do you see the connection between nature and technology?
DOUGNICKAITKENCAVE MARINELLA SENATORE JOHN GERRARD X PLASTIKMAN JACOLBY SATTERWHITE X PERFORMAPIACAMIL ASSUME VIVID ASTRO FOCUS JONAH FREEMAN + JUSTIN LOWE TOILETPAPERBEACHKHRUANGBINMAGAZINEPHOENIXHOUSETHE WAR ON DRUGS NILE RODGERS & CHIC THE FLAMINGJUNGLELIPS HERBIE CHRISTONETHELEFTOVERDIGABLEROBERTMOSESRICHIETHEHANCOCKMARÍASHAWTINTHUNDERCATFATBOYSLIMSUMNEYELLEKINGGLASPERSETHTROXLERJAMILAWOODSTHIRDWORLDPLANETSSALMONCOMETISCOMING“KINGFISH”INGRAMDJTENNISJOEKAYSEUNKUTI&EGYPT80LOSTSOULSOFSATURNLINDSTR Ø GENESISSHYGIRLMOWUSUYUSSEFDAYES SISSEL CHARLAPSHOPLIFTERTOLAASHYMAN & HERRERO BETONY VERNON MONOM X WILLIAM RUSSELL AMYNEILLUZINTERRUPTUSHARBISSONKHOSHBIN+JEN KHOSHBIN JAMES TAPSCOTT MADDY MORPHOSIS BORIS ACKET THE CHARLOTTEJOHNCARLITAQUANTICCHLOÉMINDCHATTERVIEUXHEIMLICHAMÉMÉACIDELALATHEPALACELIDOCHALI2NADELKATPERRINBUMBY’SIRELANDWILSONWATERGAP&CUTCHEMISTPIMIENTALEMONTWIGSDOÑAMINUSPAULIKNÜLLERFARKATOURÉCAILLETCARROLLKIRBYADIGÉRY&BOLIS PUPUL THE ILLUSTRIOUS BLACKS NEW BREED BRASS BAND THEDOMBRANCETOMIMAUSKOVIC DANCE BAND BLACK JLINALANCALDERDISKORIGOPOLARPARTYCOWBOYALLENPOWERXUAPBDRUM LINE FRANCOIS K BAS IBELLINI THE MALCRIAOS BAND GOURANGA CLAN ISAAC FERRY BENTONVILLE,GENTEQUENTINRA-VEAURALAICOMOKALYNHONEYTHESERRANO-TORRESKATIEAMOSDISCOSISXANDERTHEJIMMYAMBROSIGAZELLEJKRIVLOPEZHAPPYSHOWFERREIRACOCHRANSCHECTERPHLEGMSCOLLECTIVEFAYLASMOVIESCULTURALFOUNDATIONANDTHEPASTLIVESPRIVADAAR, U.S.A. 09.23.22 - 09.25.22 @FORMAT-FESTIVALWWW.FORMAT-FESTIVAL.COMUNIFYINGLIVEMUSICWITHVISUALANDPERFORMANCEARTSN+MUSICFESTIVAL01ART
Preview the fair by searching gallery presentations by artist, artwork price and date, and explore new immersive 3D rooms. FRIEZE VIEWING ROOM NEW YORK EDITION MAY 13–22, 2 0 22 Create your free account on fromfrieze.com/viewingroomMay13–22
@rosepilkyPilkingtonRosebyArtwork
28 COLLECTOR PROFILE MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
MG What was the first artwork you acquired? How did you decide on it?
Opposite Carlomar Rios in his home in New York, 2022 On wall: Sonia Gomes, Caracol, 2019
I went the next day and, oh my god, it was something new and different. All this energy, this creative output I was hooked. I was there for a few hours and, being the type of person I am, within the next few days went and bought all the art magazines I could get my hands on.
While working in Miami, Carlomar Rios was gifted an art-fair VIP card and jumpstarted his journey to becoming a passionate collector. Now based in New York, Rios talks to frieze associate editor Marko Gluhaich about his most memorable purchases, the importance of making lists, and why good relationships matter more than money alone
MG How did you prepare to return to Miami the following year?
CR It was a photograph by Walead Beshty, one of his fold pieces. What I had read about him and the abstract nature of the work itself convinced me it being within my budget helped, too.
SENTIMENTALEDUCATION
CR If I’m interested in an artist, I’ll see which other figures are exploring similar themes or issues. I was reading a magazine once about artists from Cluj-Napoca,
All photographs: Alec Vierra
MG Can you tell me about your group ing process? I know that you’re an avid list-maker.
29 COLLECTOR PROFILE MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
I’ve always had these lists I got this from my mother. I have lists of exhibitions that I want to go to and of what I’m inter ested in: emerging, mid-career and older artists, artists that I shouldn’t be collecting because their work isn’t right for my space, even if I love it. If an artist’s name appears multiple times I know to pay more
When I opened those magazines, I was like, whoa, I don’t understand this, but I love it.
CR No, because I had never been exposed to it, but I have always been curi ous about design and architecture. I love how art transforms when you bring it into the home: it starts a dialogue with the space.
I thought it would be amazing to become a collector, but remembered read ing that you should wait at least a year before your first purchase and do some research. I decided I was going to give myself a year to research and save some money. I bought my first piece at the end of that year, and 16 years later, here I am!
CARLOMAR RIOS
Romania, and it was the first time I came across Victor Man I thought, wow, this work is good. But he was already beyond my price point. So, I researched other artists in his circle and found Adrian Ghenie and Ciprian Muresan, who is very conceptual but also does these great draw ings. Then I asked myself: which artists are right for my collection?
Theattention.Brazilian artist Erika Verzutti is one example. I saw her work in a group show at Andrew Kreps in New York in
MARKO GLUHAICH
MG Did you have an interest in art before that first trip to Art Basel Miami Beach?
CR I did my research and reached out to the directors of galleries that piqued my interest. I sent them emails, made calls, in order to start a relationship by the time I went. I thought that way, even if they thought that I was young, they’d remember me and perhaps take me more seriously.
Could you tell me about how you got into collecting?
I was born and raised in Puerto Rico and later lived in Miami, where I worked as a pool server at a hotel while I was attending college. In 2006, I was working in a VIP section during the week of Art Basel Miami Beach. This one guest with whom I had more extensive conversations about the fair gave me his VIP card when he left because he had noticed how curious I was about that event.
CR I remember reading advice from the art dealer Philippe Ségalot, who said that collectors should ignore the question of space and simply buy the best work, without setting any limits on size. In a way, I agree with him, though I try not to acquire too many large works as I won’t be able to display them all at home.
CR I read, research and write notes about art every day: I breathe art. It’s a passion that makes me happy and keeps me going. Because of this interest, I decided to move to New York, where the art scene is more expansive than in Miami. I am able to visit more galleries in person and talk to staff about their projects, which I always love doing.
MG You moved from Miami to New York in 2010. What motivated that?
MG What’s your most recent purchase?
MG Are there places you go to often to discover emerging artists?
Fast forward to 2019: I was on vacation in Paris and visited Verzutti’s show at the Centre Pompidou, which deepened my appreciation for her work. Frieze New York was coming up a month later. To my surprise, Andrew Kreps gallery, which I have had the pleasure of working with before, was showing a new papier-mâché wall piece by the artist. I spoke to the gallery staff at the booth, paced back and forth to see the work from different angles and had a minor anxiety attack before fully accepting I was going to go for it. Verzutti continues to appear on my lists.
If I buy a big painting, I want to be able to live with it, to have it on my wall.
3 0 COLLECTOR PROFILE MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
Above Sonia Gomes, Caracol, 2019
2014–15 and also at SculptureCenter in 2015. At the time, I couldn’t acquire her work, but I kept looking into it. I knew I couldn’t collect her large or heavy bronze works, but maybe her wall pieces?
CR Commercial galleries are one route.
shows are coming up. Sometimes, the best places to find these new voices are nonprofit spaces. New York has so many wonderful nonprofits: Artists Space, SculptureCenter and The Kitchen, to name a few. One of the best shows I saw at Artists Space was by Cameron Roland in 2016: I still get goosebumps. And I remember The Kitchen’s 2018 show “A Recollection. Predicated.,” which displayed one of Sondra Perry’s early video pieces next to a work by Carolyn Lazard.
been working for long or are new to me. Those purchases keep my “collecting spark” alive. I try to balance them with more thoughtful acquisitions by estab lished artists to have a more focused collection. With Costa, a contemporary Brazilian artist who I’ve liked for a long time, it was important to me to find the right piece.
MG How do you decide which works are right for you?
CR There are two: a piece by Adriano Costa which is challenging and full of references, it pushes you as a viewer and a sculpture by Sung Tieu, which I had a strong gut feeling about. I some times like to follow my gut instinct and acquire pieces by artists who I find very interesting but who maybe haven’t
Opposite
On wall: Michael E. Smith, Untitled, 2019
Maxwell Graham shares my interest in conceptual art: I don’t think anyone’s doing what he does as a gallerist here in New York. After so many years of collecting, I have learned that everything goes back to the relationships you have established, where you can have open conversations about who the new artists are in the gallery program and what
31 COLLECTOR PROFILE MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
“I like to follow my gut instinct and acquire pieces by artists who I find very interesting but who are new to me. Those purchases keep my ‘collecting spark’ alive.” Carlomar Rios
32 COLLECTOR PROFILE MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
It also takes time to train your eye, but if you are dedicated and have the curiosity to learn you can become a great collector. I think the most intriguing collectors, and the type of collector I try to be, are the ones who take the time to research and study the artists they are interested in and think about which works are a good fit for their collections. They mix works by top artists with pieces
MG Your journey could be instructive to both young collectors and those who think that buying art requires a high income. What advice do you have for those with an interest in collecting?
Marko Gluhaich is associate editor of frieze He lives in New York, USA.
A while back, I went to Maxwell Graham gallery and saw this amazing work by Park McArthur. I didn’t under stand it completely, but I knew that there was something special about the piece. I figured that something so important belonged in a museum, and not in my collection. That same work was later acquired by a New York museum. A few years later, I saw another piece, by the artist Diamond Stingily, and thought the same thing: it should be in a museum. It was large and tough, but this time I felt that I could be the custodian of a museumquality work. I was mature enough I could do it. That process was part of my evolution as a collector.
Above left On wall: Erika Verzutti, Headlines 2020
by lesser-known ones. Not all works need to be fit for the Whitney Museum or Museum of Modern Art. During a panel discussion in 2014, the art-market specialist Amy Cappellazzo had amazing advice that I try to follow: “Buy something you love, followed by something that terrifies you and makes you uneasy […] You should be forced to grow.”
On wall, reflected in mirror: Jennifer Packer, Untitled 2017
Above right
Carlomar Rios is a professional concierge and art collector. He lives in New York, USA.
CR I’m just a normal, 9-to-5 guy who became a collector. My own journey is a great example that you don’t need to have a lot of money to build an art collection. It’s about cultivating relationships, meet ing with gallerists in person or calling them on the phone and showing genuine interest. Gallerists know when someone is truly invested in knowing why an artist works the way they do or what a particular show is about.
Another time, I was researching artists including Jordan Casteel, Eric Mack and Jennifer Packer, who were all coming out from Yale. I found a beautiful, large
drawing by Packer at Sikkema Jenkins; I loved it, but it was too big even for storage so I had to turn it down. Saying no is very tough, but it’s important to stay focused and be realistic about what you can and cannot collect. A few months later, Packer was showing a painting at a group exhibition in Los Angeles. It was a new work, not too large, and I was able to acquire it. Even though it was above my budget, I took out a loan to cover the amount I didn’t have and made it happen. Sometimes, you attract the things that you really want. It’s those experiences journeys that seem to be connected by a common thread that are the most fun.
Recognition, exhibition, publication, and scholarship opportunities for young artists and writers Empowering creative teens, celebrating youth voices artandwriting.org @artandwriting @artandwriting @ScholasticArtandWritingAwards
MA.Boston,,SchoolWinsor12,Grade,
Covered byPhoto VilmenayFranchesca
NEW SEASON. NEW @MATCHESFASHIONPOSSIBILITIES.
SCAN TO DISCOVER MATCHESFASHION AT FRIEZE
37 INTERIORS MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
One-time classmates, in 2014 Adam Charlap Hyman and Andre Herrero formed their New York and Los Angeles-based architecture and design practice, Charlap Hyman & Herrero. Its deeply considered, multivalent approach to spaces has won insider acclaim, including a place on the Architectural Digest AD100. For Frieze Week, Herrero who recently joined the Frieze 91 committee and Charlap Hyman jumped on the phone with Kat Herriman to discuss their work
Illustrations by Peony Gent
Design’s Dynamic Duo
AH I’m a problem solver, I like figuring things out, but in terms of how I design, it’s very much spatial and emotionally based. There’s always a battle against the diagram, the thing that looks good. And it’s always about imagining yourself walking through the space. How does it feel? That feeling is very important when it comes to interiors.
AH I can come across as very technical when I design, this rigid character who just knows how to get things built. But when I’m in my sandbox, playing and trying to figure out what the thing should be, it’s a totally different, emotional process. I can switch it, and Adam has that same ability. He’s technical, practical and considers the function, but at the same time, he goes into his world and designs and creates. I think that’s why we work well ACHtogether.We’ve also learned a lot from each other in terms of approach. Andre has taught me about thinking through spaces and material relationships: the way that light affects an interior and space is informed by place. We’ve absorbed many lessons from each other, which by osmosis have become part of the ethos of the firm and the people who work with us. We often overlap
Do you think your backgrounds in architecture have affected the kind of designs you do?
ACH There’s something more rational, in the true sense of the word, about the type of thinking I have to do: finding a way of approaching the design of a closet, for example. How do these people get dressed in the morning? Clients don’t necessarily know how they want every design. So, they’re coming into a discussion about laying out the room that their kid will grow up in, and the conversation becomes about what kind of kid they want to raise. It’s a very specific line of thought that is different to conceptualizing a building.
ACH I probably prioritize music-related projects, like the opera sets and residential interiors. I love it all though, really people’s kitchens and bathrooms, and even the way the closet works. I love trying to find the logic in the client’s psychological approach to their house: what drives the things that they like.
ANDRE HERRERO
in our approach and most of our team is quite versatile, thinking at different scales. It’s extremely fun to work with architects on designing a lampshade or another object and, vice versa, to have somebody in our office contribute to the design of the facade of a large, industrial rehabilitation project.
KH It feels, Andre, like you’re battling the elemental and Adam is more about what is going on in everyone’s heads?
The projects that get me the most excited are the ones that are technically challenging, where you can’t identify what the solution is right off the top and the answer comes through experimentation, through working. I love the larger, ground-up constructions, where we’re making big architectural and structural moves that we haven’t seen before.
KAT HERRIMAN
KH What are your priorities?
AH It goes back to emotional spaces: in a way, films can choreograph how we feel. Even if a building has a different effect on people because there’s less elements to work with no music, no overt narrative some of the ideas that went into that space might have derived from what we felt when observing other worlds created by other people.
ACH We appreciate the totality of the experience of watching a film: how you can be absorbed into a complete world. Movies do that extremely well and so can a building. It’s an experiential endeavor.
We’re working on a project in Mexico right now: this dystopic place on the beach. Building massive concrete structures very close to the water presents challenges that go beyond appearance. We’re dealing with the soil testing, and just figuring out what the ground is made of has turned into a huge feat. And then you have to design it structurally this place is going to be totally Whacko Jacko. It’s super exciting.
KH Something about your firm feels related to movies, theater and film; I feel like you both live your lives cinemati cally, but in very different genres.
ACH An early bonding moment was when you were showing me books with all these structures you love, by these obscure, amazing architects, and I was losing my goddamn mind, thinking that the one thing that’s wrong with these places is the furniture. And we said: if we could just make nice buildings and put cool furniture in them, maybe we’d have a firm. That’s all we’re trying to do, really.
ADAM CHARLAP HYMAN
AH And, on the other hand, it’s important that the architects in our office do not try to architect everything. One of the things that architects do wrong is they try to construct this whole entire world, and then the place just looks like an architect’s house. And it loses a bit of soul when that happens.
38MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
Certainly, that is a big factor in wanting to do ground-up projects. When I started getting into architecture studies, it felt right. But then when I got more myopic and did some furniture and sculpture courses, I realized that what I was most excited about were the things you could hold in your hand. Still, a strong appreciation for what architects are trying to do with space informs a lot of the design choices we make.
AH That’s interesting. We love movies.
ACH Yes, the ephemeral nature of the experience that we’re creating has been liberating.
KH Hotels are like this special suspension of life.
39MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
AH We’re empathetic and can get into artists’ heads a little bit and understand what they’re trying to tackle, even if they might not be good at verbalizing it themselves. By speaking in a design language, we can really connect. We love the prompts that artists give ACHus.We have a different approach but can make something that responds well, which is extremely fun. This idea of empathy is important to us and a big part of our process in working with clients it touches on the psychological aspect that we were talking about before, but it’s also part of any good collaboration. We work with artists to create spaces, but we also commission artworks, artistic furniture and design pieces; that comes out of a real joy, that everyone in our firm gets, from seeing and learning from the way someone else approaches things.
Frieze 91 is a membership program, guided by an international committee of thought leaders and designed to deepen members’ passion for art, connecting them to the most exciting artists of today and masters of the past. Frieze 91 members enjoy curator-led tours of acclaimed institutional exhibitions all year round, as well as first VIP access to Frieze fairs, exclusive content and offers, and more. Recent and forthcoming events include a studio visit with artist Alex Olson in Los Angeles, a private tour of the Cy Twombly Foundation in New York, a behind-the-scenes tour of “Lee Alexander McQueen: Mind, Mythos, Muse” at the Los Angeles County Museum of Art and a private tour of “In America: An Anthology of Fashion” at the Met’s Costume Institute in New York, led by associate curator Jessica Rega. To apply for membership, visit frieze.com/frieze91 or email frieze91@frieze.com
Adam Charlap Hyman and Andre Herrero are co-founders of Charlap Hyman & Herrero, an architecture and design practice based in New York, USA, and Los Angeles, USA.
KH Do you think that this auteur framework is why your firm often works on gallery exhibitions and the homes of people in the art world?
ACH For both of the hotel projects we’re working on, we’re lucky to have been hired by extremely creative people. There is some one coming to each commission with a distinct point of view, who is asking us and the hospitality industry questions that, when answered, seem to tie together a lot of hotels and hotel experi ences. They have both been very stimulating and meaningful, which is funny because I had assumed that it might be a little boring because you have to create the same thing over and over again. We’ve been pleasantly surprised and taken aback by how challenging in a good way these projects have been.
KH What you can commit to for a night is totally different from what you can commit to for a lifetime.
they’re curating it we’re working with them and it’s exactly how they want.
AH Yes, but I don’t think we put that much pressure on our selves: the idea of no leaks. We sometimes find joy in the leaks and make them bigger, make a chaotic moment that allows us to create something new.
Kat Herriman is a writer and creative director of Cultured She lives in New York, USA.
ACH Yes, and this idea of world-building is essential to the relationship between architecture and interiors in our firm. Our goal is always to create a legible space that makes a complete gesture. That’s what struck us when we were looking at those architecture books: it was so disappointing to see these amaz ingly well-conceived projects that fall short in one aspect, which punctures the entire thing and deflates it. I would say that trying to not have any leaks in what we’re doing is at the center of this whole practice would you agree, Andre?
AH That’s a great way to put it.
KH Following on from the idea of interiors and emotions, what has it been like for you to work on a hotel? To me, such projects seem to be at a different level, because of how many people’s journeys you have to manage at once.
KH You get to play in the “fuck” category of “Fuck, Marry, Kill?” in an architectural sense.
AH We’re academically raised as artists. That’s a big part of it.
The practice was selected for the 2017 Chicago Architecture Biennial and received the America Institute of Architects: Los Angeles Emerging Practice Award in 2020. Charlap Hyman & Herrero was included on Architectural Digest’s AD100 and AN Interior’s Top 50 lists. Herrero is a member of the Frieze 91 committee. Visit: ch-herrero.com
AH And we’re doing some unconventional things because, hey, it’s just for one night.
AH It’s exciting because this is the first time that we will be able to create an intimate space that is someone’s home for just one night. It’s like architectural cosplay. It’s not someone’s home and
ACH On the one hand, it relates to our interest in the art world and in the work of artists.
AH Yes, you’re not going to get married to that hotel room.
ACH There are things that are confusing in a good way, and we relish those moments, but there are also moments when we fight against the conditions of a given project. We’re fighting to complete a vision in its entirety and it’s hard because, sometimes, you need to compromise on certain elements; projects are often defined by these compromises and how you’ve structured them to your advantage.
ACH We’re relatively well-equipped to understand what an artist may be trying to do with their work, which can help us make a space that complements, enhances or clarifies their practice. We also understand some of the questions the artists are asking, which we also ask in our work.
VOLTAARTFAIRS.COM#VOLTAARTFAIRS MAY 18 – 22, 2022 548 WEST 22 ND STREET
Who are some of the other creatives, groups and advocates you see as part of this effort?
ALEJANDRA MARTÍNEZ
JG What we think of as “Mexican design” would not exist without Mexico’s architecture. Indeed, most of the coun try’s designers were originally architects, some of whom continued their practice, while others transitioned exclusively to interiors and furniture. This “Mexican Golden Age” lasted a long time, from the 1930s into the 1960s, when the recently founded Acapulco was the most glamor ous place in Mexico, and the 1970s, when Ricardo Legorreta shaped the iconic Camino Real Hotels. Our Vallarta Line comes from the hotel he made in Puerto Vallarta; in Mexico City, he made one in Polanco, which has one of the most famous fountains in the world.
JG That’s a tough one. I am invested in all of them, because each one has such a unique nature. The spirit of Clásicos Mexicanos is collaborative first: we main tain close relationships with everyone we work with, be they clients or the owners of theWedesigns.believe that while history is fragmented, it is also transmitted through objects, including works of design.
AM Could you tell us about some key designs that you feel especially proud to work with, or which sum up the spirit of Clásicos Mexicanos?
JG Tequila has always been at the heart of the Mexican soul. It is the drink of choice for everyone at every occasion in the mornings, for lunch, at cocktail parties, with dinner, and so on. Personally, I like Maestro Dobel Diamante: a tequila that I can drink neat and cool, and really enjoy the flavor.
AM Do you think we are in a moment where there is a renewed appreciation for Mexican creativity and its heritage?
JG There are several criteria. The first, of course, is that each design must be able to tell a part of the story, and it has to have been a significant part of its ecosystem. Then, we must approach either the design’s “author” or their estate whenever possible, to secure the exclusive rights and licenses and establish royalty agreements. One thing that makes Clásicos Mexicanos special is that we never work outside the framework of licenses and royalties, even when copyright law would allow it.
Tell me about Clásicos Mexicanos what is its mission and model, and how did it get started?
41 FRIEZE PARTNER: MAESTRO DOBEL TEQUILA MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
JG I must distinguish tradition and craft. For instance, a tradition can be invented, as when a former head of state in Greece decided that all houses on the Cycladic islands had to be painted blue and white. Craft, on the other hand, is knowledge, which develops through generations and changes with each craftsperson. We have both tradition and craft. At first, Mexican modern architecture consciously contended with traditional forms and colors and later on with itself; yet much of Mexican design is indeed rooted in craftsmanship, in working with materials that were very
present in the past and which are now more rare. That is also part of the history we wish to convey at Clásicos Mexicanos.
AM What is the process of bringing history back to life? How do you start identifying a design to revive and what happens next?
JUAN A. GAITÁN
JG This is a very exciting project for us, because from the moment we began to relaunch and re-imagine what Clásicos Mexicanos is about, we thought of col laborations and suddenly Maestro Dobel appeared, and chose the Vallarta Line. This is a very complex line that looks remarkably simple; I always enjoy things like this, like a Leonard Cohen song, or a work by Tacita Dean, or Maestro Dobel’s tequila itself. We chose to build the Artpothecary with the Vallarta line at its center and, then, over two more iterations during Design Miami 2022 and at Frieze Los Angeles in 2023 we will add or replace a few elements around it. It’s a three-part, year-long journey that is just beginning and full of exciting possibilities.
JG It is indeed a moment in which Mexico is hot stuff, for sure, and Mexican design is hotter still. There are many names around, like Carla Fernández in fashion, Jorge Vallejo or Elena Reygadas in cuisine and a wonderful florist called Miriam Torres. And many, many artists, too. Happily, the list is very long.
This long, multifaceted history includes the architect Luis Barragán, who was originally from Guadalajara and was Legorreta’s mentor. If I were to venture one overall commentary, I’d say that, unlike the art scene, the architecture and design scenes were a continuous project, where younger generations always developed on the previous ones. It was constructive and monumental.
We analyze where each piece we issue fits within the whole of our own collection and where it fits in a larger sense: how bringing it out may reshuffle the cards on preconceived notions of Mexican design.
Alejandra Martínez is the founder of Anónimo Colectivo and creative director of Maestro Dobel Artpothecary. She lives in Mexico City, Mexico.
This page ClásicosCourtesy:Mexicanos Clásicos atMaestrotheDiscoverthroughoutFriezeinArtpothecaryMaestrocollaborationMexicanos’withDobelisonviewtheDobelLoungeatNewYorktheweek.moreaboutcollaborationandDobelTequilamaestrodobel.com
Modern Classics Dobel revives the Golden Age of Mexican design
After that, the rest is pure fun!
AM Coming from Guadalajara, which is so rich in crafts, I am always drawn to traditions of historic craftsmanship in Mexico. Do you see the influence of these Mexican traditions expressed in the Golden Age and in the designs you work with at Clásicos Mexicanos?
AM Can you share how Clásicos Mexicanos’ collaboration with Maestro Dobel Artpothecary at Frieze New York will come to fruition?
Juan A. Gaitán is director of Clásicos Mexicanos. He lives in Mexico City, Mexico.
original context with the now, in which all these objects have a new life.
AM The new thematic for Maestro Dobel Artpothecary is “the Mexican Golden Age.” For me, this is the birth of the modern Mexican aesthetic, when local architects and designers really stretched their imaginations to create something original and distinctive. Who, for you, are the key figures and ideas of this moment?
In other words, these items convey their histories, and these histories combine the
AM Can you tell us more about how tequila entered the story of the Mexican Golden Age? And how do you enjoy your tequila?
Clásicos Mexicanos opened its doors in 2018. It emerged out of a passion for the rich and engaging scene of industrial design that existed throughout the 20th century in Mexico. More than just a design company, today Clásicos Mexicanos is a collective endeavor with an ongoing commitment to this specific history, itself grounded in a collection that tells an exciting and multifaceted story which, patiently and painstakingly, we continue to develop, always with an eye on the present. We produce pieces that represent the history of industrial design in Mexico but we also make sure that this history isn’t monolithic, that there is much more to explore and uncover.
EVERYONE. EVERYWHERE.EVERYTHING.
AROMA
A new scent for
FRIEZE 91
A global community with a shared passion for
art JOIN TODAY AND ENJOY VIP Access to Frieze Fairs and VIP Frieze Week events Year-round invitations to Frieze 91 programming Bespoke entry to Frieze partner galleries, studios and institutions Access to frieze print and digital content Exclusive offers from Frieze partners
LGLG_OLEDARTGLOBAL
‘Flower Meadow’ by iart studio is a sculptural media work commis sioned by LG for the exhibition ‘LUX: New Wave of Contemporary Art’ at 180 Studios, London. It consists of five kinetic screen sculptures each consisting of six flexible LG OLED screens arranged in a petal-like formation, which open up like flower blossoms. The virtual flowers shown on the screens were put together with the help of an AI from thousands of flower images. Find out more:
LGOLEDART.com
UNREAL CITY
I’ve always been drawn to the energy of cities. I grew up in Washington, D.C., where I lived for 14 years, and then Chicago, before moving to Baltimore as a student. If Chicago is where I fell in love with the idea of the city, Baltimore is where I started to really see a place’s layers and start to identify them. Baltimore is small and post-industrial even more so than Chicago. It was here that I started to understand the politics of the city: what decisions are made, and at which point, to create a cityscape; who is allowed or denied access.
conceptual project “People of the Twentieth Century” (1922–64). The pictures are very expressive; Sander was so in love with people, he couldn’t overcome it. He would have made an adept fashion photographer today.
Some of my recent images are from a construction site. In New York, there’s an interesting phenomenon that happens when a site goes under construction and wooden walls go up around it: residents get upset if they can’t see what’s going on, so you get these viewing holes built into the walls, almost like peepholes. There’s a relationship here between seeing and looking, which becomes almost voyeuristic or cruisy, but is fundamentally about forms of power and status relations.
For this body of work, I got access to the construction site purely by serendipity, because I met a guy who worked there. The crew builds a floor of an apartment building every week. It’s an intense environment: hulking young men in this loud, sweaty and very social place. There’s an aura of masculinity and of pride in the work as well as the visual language of the equipment. And yes, there’s something kind of kinky about this: in isolation, safety pads can look like bondage gear. The social fabric of the construction site the relationships between workers and workers, workers and overseers, and their interac tions with me all relate to this fundamental abstraction of labor and value: the fact that people are building a building that they won’t have access to.
As artists, our relationships to cities are complicated and we aren’t always rigorous in interrogating our own place within them while critically observing the politics. In my book 43–35 10th Street (2018), I was trying to be honest about where I live and
I didn’t move to New York because I wanted to think about abstractions of development and capital. I moved here because I wanted to be in a fascinating, dynamic place. Part of what I’m trying to express about cities is being in love, not just with them, but with their mirage.
The work that I showed in the 17th Venice Biennale of Architecture in 2021 was realized when I had already spent five or six years investigating urbanism and how ideas and values take architectural form. I work by slowly building a huge pool of images and then going back, extracting and editing until a pattern emerges, a driving thesis. I wanted to reset, so I went to the least city-like environment I could think of: the woods. I went without an explicit idea or intention, other than to think about a process looking for a way to see became part of the work, rather than making individual expressive photographs. I wanted to work more intuitively, without chasing an organizational principle, by putting myself in situations with no clear idea of the hows and whys. My art practice is often about just putting myself somewhere; photography is secondary to the thinking that this process initiates.
Until that point, I wanted to make high-minded, conceptual art; this was my discovery of social realism, of the power of human interest and narrative. I always wanted to teach, so I worked in public schools and on arts programs in both Baltimore andSomeChicago.artists have stayed at the forefront of my mind for decades. Roni Horn lights up that axis from the conceptual to the poetic, as does Zoe Leonard. Bernd and Hilla Becher did a cynical thing that I deeply appreciate: they departed from the easy, maybe the easiest, view of the world that it’s full of difference and novel experience and instead contended that there are strict categories that can be clearly distilled and abstracted. I found this to be an incredibly useful way to think aboutIt’scomplexity.astrangeirony since in my commercial work I’m commissioned to shoot people that I don’t really think about portraiture. I have to train myself. When I’m photographing, I see people as a type of thing in the world: as a form, as a stand-in. It’s the inverse of the photography of someone like August Sander, for instance, who attempted the strident
byPhotographyDanielShea
MAY 18-22 2 0 22FRIEZE WEEK NEW YORK 48
where I work, the ambition and the execution, and what values are at play. This doesn’t mean I have answers to the big questions. Hardcore Leftists writing for obscure journals responded to the book in terms of an arc of urbanism which makes sense to me and, at the same time, designers and art collectors focused on the architecture, saying that it documents the city in a beautiful way.
As told to Matthew McLean
FRIEZE WEEK NEW YORK 49MAY 18-22 2 0 22
MAY 18-22 2 0 22FRIEZE WEEK NEW YORK 5 0
FRIEZE WEEK NEW YORK 51MAY 18-22 2 0 22
My art practice is often about just putting myself somewhere; photography is secondary to the thinking that this process initiates.
MAY 18-22 2 0 22FRIEZE WEEK NEW YORK 52
This spread, clockwise from left: kle., 2021, LIC7, 2016, LIC20, 2017, LIC22, 2017
Previous spread, clockwise from left: Untitled, 2021, uld, 2021, mote, 2021
Opening spread: rden, 2021
FRIEZE WEEK NEW YORK 53MAY 18-22 2 0 22
Daniel Shea is an artist and photographer. In 2021, his work was exhibited at Andrew Rafacz Gallery, Chicago, USA, and the United States Pavilion, 17th Venice Biennale of Architecture, Italy. He lives in New York, USA.
ninth renovation:
Bound by 34th and 30th streets to the north and south, and by 10th Avenue and the West Side Highway to the east and west, sits the most expensive real-estate development in U.S. history. Rezoning reports dubbed the site the “one last frontier available in Manhattan.” Vast vertiginous expanses of glass and steel, and the occasional textured stone line the streets, plazas and passageways of this metropolis-within-metropolis; a super smart city whose murky, shiny skins both reflect and consume you. Located adjacent to The High Line, and just a few blocks north of the Chelsea Gallery district, the site is both deeply connected and set apart, wide open but rabidly protected, accessible yet thoroughly inaccessible. The renovation will be a dispersal of fragmented sheetrock, broken into bits and strewn over the outside ground surfaces - all over, but nowhere in particular - clumped next to buildings, clogged in storm drains, wedged within shrubbery, trapped behind bollards, pinned under Ubers, plastered against panels of ethylene tetrafluoroethylene, glued beneath the soles of shoes. It will be fleeting; piled up and then swept away, seen and not seen, the sheetrock nuggets performing like so many scattered green scraps of trash.
Tom Burr, The Ninth Renovation, 2022The
The sixth renovation:
In the middle of the island sits a large expanse of parkland carved out of the existing terrain by landscape architect Frederick Law Olmsted. Roughly in the middle of the elongated rectangle lies the Ramble, a luxuriant display of indigenous flora and transplanted exotica in various stages of growth and decay.
The seventh renovation:
In a new commission for Frieze New York, these “Eight Renovations” were printed as posters and wild-posted at a constellation of sites across Manhattan from April 20. A new text by Burr The Ninth Renovation (2022) is pictured left and will be installed at The Shed during the fair
The first renovation: Central Park (Ramble)
On the Lower East Side, at the intersection of Allen and Delancey Streets, sits a boarded-up public toilet. Built at the beginning of the 20th century, the building exhibits a mild form of the Italianate motif which was the most popular model for public toilets at the time. It has been out of commission for much of the past two decades. The renovation will be a partial exterior wall covering, with the green sheet rock wrapping around the southeast corner to the front of the building.
FRIEZE COMMISSION: TOM BURR
The Ramble is home to an extensive array of birds, attracted by the area’s waterways, and by the relative seclusion and protection afforded by the dense understory of foliage. Attracted by the birds, groups of bird watchers flock to the Ramble year round, poised along the myriad trails and pathways, binoculars raised. The Ramble is also home to a large population of gay men who gather and cruise within the relative seclusion and protection afforded by the dense understory of foliage, and the intricate topography of this region of the park. The renovation will be free-floating, like a blank green billboard at one of the entrances to the Ramble, surrounded by spring green foliage, just beyond the Bow Bridge.
The fourth Diagonallyrenovation:acrossthe island, centered around 22nd Street on the West Side, a new gallery district has emerged. In contrast to the small, late 19th century storefronts of the former East Village galleries, and the 19th century warehouse lofts of the SoHo galleries, the spaces in this part of Chelsea are mostly early 20th century garages and industrial buildings. All have been renovated with large expanses of newly sheet-rocked wall and gray concrete flooring, and feel like a nest of scattered offspring at the feet of the parental Dia Art Foundation building at the westernmost point of 22nd Street. The renovation will take place within one of the first galleries to move to 22nd Street two years ago, and will occupy sections of the rear gallery and office space.
The fifth renovation:
Madison Park is a small 6.8-acre park located within Madison Square, between 23rd and 26th Streets, and Madison and Fifth Avenues. At the east side of the park, largely invisible to unknowing eyes, are the remnants of an underground public toilet. The subterranean toilet room has been sealed off, with only the upper steps and its surrounding railing remaining intact for view above ground. The renovation will partially enclose the existing boarded-up opening and the surrounding railings, like a small green shed nestled in the park.
next two years. Inside the store, the front room offers up a supply of videotapes, dildos and lubricants for sale, while the second space holds the individual video booths. The renovation will take place on the outside of the store, in some configuration of interaction with the existing black façade and the adjacent construction scaffolding.
At the northern tip of the island, next to the Henry Hudson Parkway, a small Grecian colonnade can be seen perched on a strip of woodland overlooking the Hudson River and New Jersey Palisades beyond. As part of Fort Tryon Park, it is probably a leftover from a 19th century estate, retained as an architectural folly by the landscape architect Frederick Law Olmsted Jr. (son of the designer of Central Park) during his redesign of the region into a public park during the late 1920s, a project commissioned by business magnate John D. Rockefeller. The city accepted the park as a gift in 1931. The renovation will be free-floating, like a blank green billboard surrounded by spring green foliage, next to the Henry Hudson Parkway.
The third renovation:
The seventh renovation: Union Sq/Gramercy Park (3rd Ave and 14th St)
Tom Burr is an artist. He lives in New York, USA. Find out more about Burr’s commission at frieze.com
In 1997, the artist Tom Burr published “Eight Renovations: A constellation of sites across Manhattan” in the periodical Opening. The essay mapped a series of places in transition disappearing or emerging bars, parks, public restrooms, galleries and apartments to trace space, memory, gentrification and migration in the city. Symbolic renovations were proposed at each site using swaths of greenboard, a construction material, to both mark and alter each location, and connect them all through chromatic signification.
The second renovation:
The fourth renovation West Chelsea (10th Ave and 22nd St)
On the northeast corner of 3rd Avenue and 14th Street, partially hidden by construction scaffolding, sits an adult all-male video store. The outside is covered in matte black wood and shiny black glass and Plexiglas, with the word video repeated several times in neon letters near the entrance. The store sits tentatively on its corner, awaiting its displacement by the high-rise apartment building that is scheduled to be erected on the site within the
The first renovation:
The sixth renovation: Madison Park (23rd St and 5th Ave)
The second renovation: Lower East Side (Canal St/Eldridge area)
Further down the West Side to Tribeca, and onto a little-known street called Renwick, where a residential loft building has just undergone renovations. Sleek white spaces, with concrete gray flooring once again recall the Dia Art Foundation and the surrounding gallery milieu in Chelsea. The loft contains living space for a family of three, as well as a painting studio. The renovation will take place in the front entrance hall, adjacent to the first floor lavatory, just off the front entrance elevator.
The Wonder Bar is a small neighborhood gay bar on 6th Street just off Avenue A, in the East Village. It has recently changed owners, and changed decor. The film screen and the Monday night film screenings have been removed and a DJ booth with a large elliptical opening has been added. The original Wonder Bar opened around 1990 when the last of the East Village galleries (American Fine Arts, Co. and 303 Gallery) moved off of this block and into SoHo. The new incarnation of Wonder Bar is hipper and more popular than its predecessor, attracting a large mixed gay and lesbian crowd on most nights of the week. The renovation will take place on the inside of the bar, running along the west wall of the space, across from the long bar and up to the large elliptical opening of the DJ booth, creating a long green sheath of wallpaper.
55MAY 18–22 2 0 22FRIEZE WEEK NEW YORK
The third renovation East Village (6th St and Ave A)
The eighth renovation:
The fifth renovation West Tribeca (Renwick St and Spring St)
The eighth renovation: Upper West Side
Gagosian B8
Franklin Parrasch Gallery B2 Perrotin B4
Matthew Marks Gallery B11
François Ghebaly C3
Tanya Bonakdar Gallery A4
Tina Kim Gallery A9
David Kordansky Gallery B1
James Cohan B9
David Zwirner B14
Victoria Miro A5
Sfeir-Semler B19
Michael Werner B7 White Cube A8
Xavier Hufkens A7 Gallery Hyundai B6
Tina Keng Gallery B3
Canada C1
Casey Kaplan B13
Galeria Marilia Razuk C10
Fortes D’Aloia & Gabriel B15
Jenkins Johnson Gallery B16
Thaddaeus Ropac A3
Esther Schipper A6
Level 4 Main
Miguel Abreu Gallery A11
Pace Gallery B12
Alexander Gray Associates B10
Sean Kelly B18
The Approach C7
Goodman Gallery A10
Carlos/Ishikawa C4 Chapter NY C4 Clearing C2
Massimo De Carlo A1
Société C5
Galeria Luisa Strina A2
56MAY 18-22 2 0 22FRIEZE WEEK NEW YORK FRIEZE NEW YORK MAP LEVEL 2LOBBY LEVEL 6 Lobby Printed Matter, Inc. & Frieze Publications ManagementDeutscheInformationFriezeCedric’sLibrarydesksBankWealthReception desk Restrooms Mezzanine Electronic Arts Intermix (EAI) Coat Restroomscheck
Hauser & Wirth B5
Jaqueline Martins C10 mor charpentier C6 Proyectos Ultravioleta C8
Simone Subal Gallery C7
Stephen Friedman Gallery B17
Rachel Uffner Gallery C9
Level 2 Main
Regards Judith Geichman FR6 Sé Rebecca Sharp FR7
8
Scan the QR code below digital version of this map.
to explore a
57MAY 18-22 2 0 22FRIEZE WEEK NEW YORK FRIEZE NEW YORK MAP
Hannah Hoffman Kate Mosher Hall FR9
Édouard Montassut Ivan Cheng FR5
Dastan Gallery Homa Delvaray FR10
Mendes Wood DM D7 Modern Art D12
LEVEL
Sadie Coles HQ D2 dépendance D4
LEVEL
Lomex Kye Christensen-Knowles FR3
Instituto de Visión Tania Candiani FR4
4
The Modern Institute D5 Galerie Eva Presenhuber D8 Michael Rosenfeld Gallery D10
LEVEL
Level 4 Frame Frame is a section dedicated to solo presentations of emerging artists, from galleries that have opened in or after 2012. For 2022, the section is overseen by Olivia Barrett (Château Shatto, Los Angeles) and Sophie Mörner (Company Gallery, New York).
Château Shatto Emma McIntyre FR1
#frieze@friezeofficial#friezeweek
Andrew Kreps Gallery D1 kurimanzutto D11
Capsule Shanghai Yan Xinyue FR2
Karma D6
Level igital
Map
Lubov Marsha Pels FR11
8 DeutscheBreguet Bank Wealth Management Lounge DobelIllyLaPrairieLGOLED Lounge VoterToursRuinartdeskInitiative D
2
David Lewis D9
Company Gallery Cajsa von Zeipel FR8
Level 6 Main 303 Gallery D3
58 NEW YORK NONPROFITS MAY 18-22 2 0 22FRIEZE WEEK NEW YORK
In Dan Fox’s 2019 book Limbo, the author leaves a dinner hosted by the late John Giorno at 222 Bowery and finds himself caught between the door and a gate to the street. This liminal space, he writes, serves as “a time machine for shuttling back and forth in New York history.”
A new life for John Giorno’s iconic former home
www.frieze.com Frieze WeekFrieze Fairs info@frieze.comfriezeofficialfriezeofficialfriezeofficialEditor & Creative Lead, Frieze Studios Creative Lead, Branded Content Content Operations Manager Creative Producer, Frieze Studios Assistant Producer, Frieze Studios Head of Design Art DesignerSeniorDirectorDesigner Director, Frieze New York Director of Business Development Executive Director Program and Special Projects Manager FoundersCEO Chief Business Devt. Officer Matthew Holt Commercial Director Emily Glazebrook Head of Branded Cont. & Studios Francesca Girelli To advertise in Frieze Week , enquire with: Americas & Asia Melissa Goldberg & Alexa Prounis UK & EMEA Lisa Gersdorf & Olimpia Saccone Partnerships Morenike Graham-Douglas Matthew McLean Nora RachelCarolineFosterMarciniakCunningham Clark Arianna Trabuio Claude d’Avoine Lauren Barrett Tom Sullivan Sam Jones Christine Messineo Romilly Stebbings Kristell Chade Camille Gillett Simon AmandaFoxSharp & Matthew Slotover
Entitled “Just a Mirror,” the events program a wide-ranging exploration of art, language, sexuality and commu nity finds grounding in Giorno’s life. “Part of our mission is to work with the art community here and the queer community sowing the seed of a new generation of the avant-garde,” says Cournoyer. Opening events have included a discussion on art and the written word featuring Raque Ford, virgil b/g taylor and Nora Turato, chaired by David Zwirner’s Ebony L. Hayes, and a talk by the Brooklyn Museum’s Drew Sawyer on the work of the late artist Jimmy DeSana (who incidentally took pictures for the cover of You’re the Guy I Want to Share My Money With, a 1981 LP by Giorno, Laurie Anderson and William S. Burroughs.) It was Burroughs who nicknamed the Bowery building “The Bunker” after taking up residence in its former locker room. One-time lover and frequent collaborator
“There’s so much content and material and associations in his life,” says Bill Cournoyer, the independent collector and advisor who is curating the first season of programming for the foundation. “As an artist, as a gay man, as someone engaged with the art community in New York for many decades, Giorno is a very inter esting figure,” he continues. “It’s really a dream project.”
Above John Giorno at The Bunker, New York, 1984.
This spring, that same building connects old and new New York once again, with an inaugural season of live programming by the John Giorno Foundation. Originally built as a YMCA, over time 222 Bowery would welcome generations of artists: Fernand Léger lived here after fleeing the Nazis; in the 1950s, Mark Rothko worked on the Seagram murals in the building’s former gymnasium; Lynda Benglis holds a space there to this day. Giorno himself arrived in 1966, looking for a room to rent for a month. “And that month became my life,” he joked shortly before his death in 2019, in an interview for Architectural Digest
Matthew McLean is creative lead of Frieze Studios. He lives in London, UK. giornofoundation.org
And what a life! An innovative poet, an acclaimed artist, the creator of the 1968 “Dial-A-Poem” project which allowed anyone to call a number and hear readings by the likes of Amiri Baraka and Patti Smith and founder of the Aids Treatment Project, which diverted poets’ royalties to provide hard cash for people with AIDs, Giorno was the lover, collaborator and/or associate of everyone from Allen Ginsberg to Jasper Johns, Diane Arbus to Andy Warhol. (Giorno posed in Warhol’s 1964 film Sleep.)
Courtesy: John Giorno Foundation; photograph: Allen Ginsberg
of Burroughs, Giorno kept the writer’s room exactly as it was when he died in 1997: including, Cournoyer notes, his OrgoneTherebox.are plans over the long term to bring contemporary film, poetry, perfor mance and visual art to The Bunker; an online shop has also been launched, selling rare LPs and books from Giorno’s own archive. During the rest of the inaugural season, The Bunker will host talks, read ings and performances featuring artists Rochelle Feinstein and Justin Hicks and writer Negar Azimi, among others, as well as film screenings, including, on May 23, Jack Smith’s legendary Flaming Creatures (1963): which Giorno and Warhol saw together at the premiere. Allegedly, they returned to see the film every night for two weeks. Don’t miss the screening: it’s something, like The Bunker itself, that you’ve got to see at least once.
Bunker Buster
Lynda Benglis by Juergen Teller
113 Wooster Street, New York loewe.com
