Hauser & Wirth at Frieze London 2015

field

Booth D6

Frieze London Regent’s Park, London 14 – 17 October 2015

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‘Sculpture is like farming. If you just keep at it, you can get quite a lot done’ – Ruth Asawa

field ‘FIELD’ is inspired by the following quote from Ruth Asawa: ‘Sculpture is like farming. If you just keep at it, you can get quite a lot done.’

Echoing the layout of a chessboard, the stand design makes reference to games, and invites visitors to approach the booth with a playful mind-set. The formation also recalls a forest or labyrinth; it is a maze in which the viewer becomes lost. Neil Wenman, Senior Director at Hauser & Wirth says, ‘I wanted to create an open field within which the viewer could explore and curate their own journey in a maze of objects; form links between works and contexts, and build their own narratives – it becomes a mental and physical game!’

At this year’s Frieze London, Hauser & Wirth presents ‘FIELD’, a 6 x 7 formation of plinths arranged as a grid, forming a neutral platform to host an eclectic array of sculptures.

‘FIELD’ refers both to a field of vision and to the idea of harvest – in this sense, it can be seen as a yield.

The selection of work on display represents the diversity of medium

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and subject matter that has developed in sculpture over the past century, ranging from one of the earliest works on the stand – Takesada Matsutani’s ‘Make a toy of object’ (1974) – to the more recent, such as Isa Genzken’s ‘Weltempfänger (World Receiver)’ (2015), created for her show at Hauser & Wirth London earlier this year and a continuation of the series of concrete radios Genzken first developed in the 1980s.

2007 – 2009 international touring retrospective which began at the Tate Modern, London, England.

Additional highlights include a signature Mary Heilmann clubchair, a group of which form ‘Monochrome Encore’ (2015), the artist’s rooftop installation on view at The Whitney Museum of American Art in New York until 27 September 2015; Jason Rhoades’ ‘Stash (Idol 73)’ (2005), a neon sculpture from ‘The Black Pussy… and the Pagan Idol Workshop’ – an assembly of 360 lonely sculptures and idols that Rhoades brought together to create a monumental installation in London, in the year preceding his untimely death; and Paul McCarthy’s ‘Dick Eye’ (2002), a sculptural iteration of his ongoing series dedicated to the theme of Caribbean Pirates.

The collection is equally varied in scale: Josephsohn’s crudely rendered brass female nude ‘Untitled’ (1960) is the largest, standing at over three feet, while Louise Bourgeois’s unassuming bronze ‘Femme’ (2005), sits at just 8 1/2 inches. ‘Femme’ belongs to a deeply significant body of work created when the artist was in her 90s and is one of five figures that were included in Bourgeois’s

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list of artists

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phyllida barlow larry bell claus bĂśhmler louise bourgeois christoph bĂźchel martin creed isa genzken gottfried gruner subodh gupta david hammons mary heilmann pierre huyghe matthew day jackson richard jackson josephsohn tetsumi kudo guillermo kuitca anna maria maiolino takesada matsutani paul mccarthy fausto melotti djordje ozbolt jason rhoades pipilotti rist dieter roth dieter roth / richard hamilton christoph schlingensief nobuo sekine andrĂŠ thomkins mark wallinger david zink yi 7

Mary Heilmann Clubchair 78, 2011 Painted wood with nylon and polypropylene webbing 81.6 x 54.3 x 56.8 cm / 32 1/8 x 21 3/8 x 22 3/8 in

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Claus Bรถhmler Milchdose (milk can), 1971 Milk can, Avoplast, steel plate, resin and wire 37.5 x 26.4 x 13 cm / 14 3/4 x 10 3/8 x 5 1/8 in

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Josephsohn Untitled, 1960 Brass 95 x 31 x 27 cm / 37 3/8 x 12 1/4 x 10 5/8 in

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Isa Genzken Weltempf채nger (World Receiver), 2015 Unfired clay and metal 13 x 26.8 x 9.2 cm / 5 1/8 x 10 1/2 x 3 5/8 in

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Paul McCarthy Dick Eye, 2002 Silicone (blue) 56 x 46 x 40 cm / 22 x 18 1/8 x 15 3/4 in

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Takesada Matsutani Make a toy of object, 1974 Vinyl adhesive, wood, cord 22.5 x 16 x 14 cm / 8 7/8 x 6 1/4 x 5 1/2 in

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Subodh Gupta Untitled #4, 2006 Aluminium 25 x 55.5 x 31.5 cm / 9 7/8 x 21 7/8 x 12 3/8 in

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Richard Jackson EAT FAT, 2009 Neon (110 V) (red), metal box 31 x 28 x 10.5 cm / 12 1/4 x 11 x 4 1/8 in

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Phyllida Barlow Untitled: recklessdisasters (1), 2011 Plywood, casters, wire netting, expanded metal mesh, foam, fabric, polystyrene, expanded foam, cardboard, cement, dust, scrim, paint, spray paint, sealant 42 x 61 x 42 cm / 16 1/2 x 24 x 16 1/2 in

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Paul McCarthy Silver Santa, 2007 Silver 25.4 x 20 x 7.3 cm / 10 x 7 7/8 x 2 7/8 in

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Jason Rhoades Stash (Idol 73), 2005 Neon phrase, transformer 110V, armature wire, hot glue, artist pallet, ceramic donkey, parts of camel-saddle, various materials 33 x 58 x 47 cm / 13 x 22 7/8 x 18 1/2 in

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Paul McCarthy Patrick’s Peter Pecker Leg, 1992 Plastic, steel, cloth, wood, plastic grass with glass and plastic containers 74.9 x 40.6 x 40.6 cm / 29 1/2 x 16 x 16 in

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Louise Bourgeois Untitled, 1993 – 2003 Pink Portuguese marble 23.5 x 53.5 x 32.3 cm / 9 1/4 x 21 1/8 x 12 3/4 in

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Djordje Ozbolt Fetish sculpture 4, 2013 Recycled plastic, cardboard, artificial hair, wire, paint 53 x 19 x 14 cm / 20 7/8 x 7 1/2 x 5 1/2 in

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Martin Creed Work No. 1554, 2013 Cast aluminium, UV digital print 18.4 x 18.1 x 13.7 cm / 7 1/4 x 7 1/8 x 5 3/8 in

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Louise Bourgeois Couple, 2004 Fabric, glass and stainless steel 53.6 x 60.7 x 50.6 cm / 21 1/8 x 23 7/8 x 19 7/8 in

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All works for sale Prices available on request

Caption and courtesy information Unless otherwise stated, all images: © the artist Courtesy Hauser & Wirth Photo: Alex Delfanne pp. 4, 15 Courtesy Hauser & Wirth and Galerie Buchholz p. 13 © Josephsohn Estate Courtesy the estate of the artist, Hauser & Wirth and Kesselhaus Josephsohn p. 29 © The Estate of Jason Rhoades pp. 33, 39 © The Easton Foundation Licensed by DACS

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