Frieze London 2014 Highlights Pack

A Study in Red and Green YZ

curated by Mark Wallinger

A Study in Red and Green YZ

curated by Mark Wallinger

Hauser & Wirth Frieze London, Booth D6 15 – 18 October 2014 Regent’s Park, London

A STUDY IN RED AND GREEN

TABLE OF CONTENTS HIGHLIGHTS FROM THE STUDY RITA ACKERMANN IDA APPLEBROOG PHYLLIDA BARLOW LOUISE BOURGEOIS CHRISTOPH BÜCHEL MARTIN CREED ELLEN GALLAGHER SUBODH GUPTA EVA HESSE RONI HORN MATTHEW DAY JACKSON RICHARD JACKSON RASHID JOHNSON GUILLERMO KUITCA ANNA MARIA MAIOLINO BRUCE NAUMAN PIPILOTTI RIST ROMAN SIGNER CHIYU UEMAE MARK WALLINGER

fig. 1 Mark Wallinger, Red (detail), Pair of traffic lights

fig. 2 Mark Wallinger, Green (detail), Pair of traffic lights

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To celebrate Mark Wallinger joining Hauser & Wirth, we invited him to curate the gallery’s booth at Frieze London – our first-ever artist-curated stand. Inspired by Sigmund Freud’s study in Hampstead less than a mile away from the fair, Wallinger has developed a highly original installation, playing on ideas of domestic space and the rational and unconscious polarities of creativity.

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RITA ACKERMANN Fire By Days XXXII 2011 Oil and spray paint on paper 111.8 x 76.2 cm / 44 x 30 in

‘You destroy and you create. You make a mistake and you clean it up. That’s the mobility that my work holds.’

– Rita Ackermann

RITA ACKERMANN Fire By Days Blues II 2012 Oil and spray paint on canvas 266.7 x 185.4 cm / 105 x 73 in

IDA APPLEBROOG Untitled (woman lying in bed) 1982 Ink and Rhoplex on vellum mounted on canvas Panel size: 218.4 x 139.7 cm / 86 x 55 in Canvas size: 220.3 x 143.8 x 3.8 cm / 86 3/4 x 56 5/8 x 1 1/2 in

‘In a series of often seemingly trivial scenes of domestic life and everyday routines, the artist depicts intimate scenes obscured by a partially drawn window shade, placing the viewer in the role of ‘Peeping Tom’.’

– Mark Wallinger

IDA APPLEBROOG Jessika 2007 Mixed media on treated gampi 43.2 x 30.6 x 3.5 cm / 17 x 12 x 1 3/8 in

‘She used to just lock herself in ‘the little sanctuary’ of the bathroom with a sketchpad, a pen and a mirror and just draw for peace and quiet. Trying to find her inner identity as an artist...’

– Neil Wenman, Senior Director at Hauser & Wirth

PHYLLIDA BARLOW untitled: chairs 2012 – 2013 Timber, plywood, cement, plaster, polyurethane foam, sand, builder’s plaster, scrim, PVA, paint Configuration variable. Dimensions of chairs: 100 x 54 x 54 cm / 39 3/8 x 21 1/4 x 21 1/4 in 102 x 54 x 54 cm / 40 1/8 x 21 1/4 x 21 1/4 in

PHYLLIDA BARLOW untitled: holedandtunnelled 2014 Polystyrene, polyurethane foam, wire netting, bonding plaster, plaster, cement, scrim, paint, PVA, plastic pipe, ply timber 50 x 50 x 50 cm / 19 5/8 x 19 5/8 x 19 5/8 in

LOUISE BOURGEOIS The Beggar 1965 Bronze, dark patina 20 x 14.6 x 10.7 cm / 7 7/8 x 5 3/4 x 4 1/4 in

LOUISE BOURGEOIS Maison 1986 Steel and plaster 190.4 x 52 x 24.1 cm / 75 x 20 1/2 x 9 1/2 in

LOUISE BOURGEOIS Arched Figure 1993 Bronze, fabric and metal 116.8 x 193 x 99.1 cm / 46 x 76 x 39 in

CHRISTOPH BĂœCHEL Sleeping Guard 2009 Museum guard sleeping on duty

MARTIN CREED Work No. 1324 2011 Acrylic on canvas 60.9 x 45.7 cm / 24 x 18 in

ELLEN GALLAGHER Abu Simbel 2005 Photogravure, watercolour, colour pencil, varnish, pomade, plasticine, blue fur, gold leaf and crystals 62 x 90 cm / 24 3/8 x 35 3/8 in

‘The strong humour within the altered image references a Black historiography that claims a cultural lineage stretching back to ancient Egypt while additionally citing Sun Ra’s fantasy of discovering a new homeland somewhere in outer space.’

– Mark Wallinger

ELLEN GALLAGHER Odalisque 2005 Gelatin silver print with watercolour and gold leaf 22.9 x 21 cm / 9 x 8 1/4 in

‘Beginning with the idea of Freud’s study within his house, I’m interested in the idea of creating a similar sense of domestic space for the booth and a place of examination and introspection.’

– Mark Wallinger

SUBODH GUPTA Untitled #16 2006 Aluminium 52 x 57 x 18 cm / 20 1/2 x 22 1/2 x 7 1/8 in

EVA HESSE No title 1960 Oil on Masonite 40 x 30.5 cm / 15 3/4 x 12 in

RONI HORN Clownmirror (6) 2001 C-prints 76.2 x 76.2 cm / 30 x 30 in Each, 2 parts

MATTHEW DAY JACKSON Melancholy 2014 Scorched wood, dyed panel, yarn, twine, plastic on panel, stainless steel frame 182.3 x 121.2 x 8.9 cm / 71 3/4 x 47 3/4 x 3 1/2 in

RICHARD JACKSON Beer Lamp 2003 Teddybear, lamp, metal, trex, wood 61.7 x 42.5 x 34.5 cm / 24 1/4 x 16 3/4 x 13 5/8 in

RASHID JOHNSON Untitled (daybed 5) 2012 Branded red oak, zebra skin, rug 64.1 x 185.4 x 91.4 cm / 25 1/4 x 73 x 36 in

‘I was particularly struck by Rashid Johnson’s day bed, which inevitably led me to Sigmund Freud, and to a clearer understanding of the very process I was engaged in.’

– Mark Wallinger

GUILLERMO KUITCA People on Fire 1993 Oil on canvas 160 x 210 cm / 63 x 82 5/8 in

ANNA MARIA MAIOLINO Untitled, from Pequenos Hilomorfos series 2011 Metal casted pieces on metal shelf Variable dimensions Shelf: 50 x 6 x 21 cm

ANNA MARIA MAIOLINO Untitled, from Entre o Dentro e o Fora (Between Inside & Outside) series 2012 Plaster with acrylic resin varnish on metal table with electrostatic paint Clay piece: 31.1 x 37.5 x 46.4 cm / 12 1/4 x 14 3/4 x 18 1/4 in Table: 50.4 x 40 x 51.4 cm / 19 7/8 x 15 3/4 x 20 1/4 in

BRUCE NAUMAN Fever Chills Dryness and Sweating 1984 Graphite and watercolour on paper 96.8 x 127 cm / 38 1/8 x 50 in

PIPILOTTI RIST Geburtsort ist Zufall (Birthplace Is Random) 1994 Video installation; 2 LCD monitors, 1 player, chemist’s shop display, lettering 100 x 88 x 22 cm / 39 3/8 x 34 5/8 x 8 5/8 in Installation view, ‘Das Zimmer’, Kunstmuseum St. Gallen, St. Gallen, Switzerland, 1994

ROMAN SIGNER Hocker mit Lampe (Stool with light bulb) 2010 Wooden stool, light bulb 57 x 33 x 33 cm / 22 1/2 x 13 x 13 in

CHIYU UEMAE Untitled 1959 Oil on canvas 91 x 73 cm / 35 7/8 x 28 3/4 in

MARK WALLINGER Self-portrait 2007 Acrylic on canvas 76 x 46 cm/ 29 7/8 x 18 1/8 in

‘As a wall partition, I want to form a capital ‘I’, like the serif versions of my self-portraits, which would create the separation between the two spaces.’

– Mark Wallinger

MARK WALLINGER Labyrinth #59 Regent’s Park 2013 Vitreous enamel on steel plate, powder coated black frame 63.5 x 63.5 cm / 25 x 25 in

A STUDY IN RED AND GREEN

MARK WALLINGER IN CONVERSATION WITH NEIL WENMAN

Mark Wallinger speaks to Senior Director Neil Wenman about his concept for the booth and his experience of getting to know the gallery and its artists.

Neil Wenman: So Mark, how have you found navigating the work of Hauser & Wirth artists? What has emerged?

Mark Wallinger: Working through the collection of work by artists represented by the gallery I’ve been struck by what a strange process it is.

I’ve been instinctively drawn to certain works, recognition of others leads me irresistibly toward them as being familiar friends, others puzzled or troubled me enough to make me want to research them further. The whole problem of choosing, or curating, has played out as an ebb and flow between the rational and irrational, conscious and unconscious; my own knowledge informed by contemporary notions of taste and those works that for some reason got under my skin. Christoph Büchel’s ‘Sleeping Guard’ appealed very much – the notion of someone absent, unconscious of their own presence in

a space. And I was particularly struck

by Rashid Johnson’s day bed, which inevitably led me to Sigmund Freud, and thence to a clearer understanding of the very process I was engaged in. Visiting Freud’s study at the Freud Museum drew me into his love of objects and images as totems, conjuring deep channels of thought and emotion. I wondered how they functioned for him whilst he sat and wrote in that house, how he chose them and why. The dualism that underpins the stand is a visual metaphor for this, and I hope viewers will question why each work is in each section, to make their own judgments and maybe to interrogate how and why those judgments are made.

I’d like to create two rooms, or zones.

I’ve been thinking back to a show I did in Oslo at the Kunstnernes Hus in 2010 – it’s the most beautiful artist’s run space after the Secession in Vienna with two enormous twinned upper

fig. 3 Mark Wallinger (left) and Neil Wenman (right)

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galleries – I built the show around this divide, splitting works thematically into the rational and the unconscious.

This was signified by two sets of facing traffic lights, one set with the red light illuminated – to represent the conscious – and the other constantly on green, as the unconscious. I liked this binary system as a way of shifting things to this side, or that side. It acted as a rationale to bounce off. Red is rational, interpreted, held still for examination; green is free flowing, intuitive, unfixed or dreamlike.

NW: How important is this symbolic divide? We could play on this with the architecture with a wall right through the middle, or we could create an environment where you don’t notice that it’s split in two?

MW: It should be very apparent, perhaps the wallpaper for one half would be red, and the other green. I am imagining those rich claret and viridian coloured walls, like the National Gallery, or the curtains of Freud’s study. That way the walls themselves represent the conscious or unconscious and so the entire booth is a divided self in a way. Beginning with the idea of Freud’s study within his house, I’m interested in the idea of creating a similar sense of domestic space for the booth and a place of examination and introspection.

NW: There are certain simple gestures that will make a difference to rendering

this as a domestic space: a skirting board, furniture et cetera. Domesticity will really strike a different note within the environment of the art fair.

MW: Yes, and I’d like to take some elements from Freud’s study for decor too. Like wallpaper, dark antique furniture, bookshelves and a parquet floor.

NW: We can source an antique solid wooden table and mismatched chairs for furniture. Then to make it as strong as possible we’ll probably want to block off as much of the outside world as possible.

MW: Though I’m conscious of not making it too much of a stage-set either, and I’m not trying to box you in completely.

NW: Ok so the interior has fabric wallpaper – what about the outside, the space beyond ‘introspection’.

MW: It’s a tricky one. I’d like to keep those walls completely blank, for a big reveal.

NW: Sure. We can just leave them white.

And inside, would there literally be a line where it changes from red to green?

MW: Well I’d like to retain the idea of two symmetrical zones. Then as a central divider I’m interested in creating this ‘hidden’ sculpture, or architecture, in the middle of the booth. Basically,

fig. 4 Sigmund Freud’s study at the Freud Museum in Hampstead, London

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as a wall partition, I want to form a capital ‘I’, like the serif versions of my self-portraits, which would create the separation between the two spaces. You would only realise it’s a sculpture in itself from above, which of course will remain completely invisible. But with the ego being central to Freud’s work, there’s another link there. The centre of the booth occupied by the symbol for the self.

NW: Really interesting. The hidden ‘I’ is a very nice allusion. And what about some more of your own work?

MW: Well for my own work I’d like to focus on the self-portraiture idea as it fits with the overarching concept for the booth. I’d like to show ‘Self (Century)’ a new sculptural version from a previous series. There are three at the moment, so this would be the fourth.

NW: Perfect. What’s it made of?

MW: It’s a resin, but perfectly smooth with a beautiful finish. It’s marble-like.

And it will be in Century, the font they use for the Supreme Court in the United States, so it’s a kind of ‘super ego’. I had also just seen Adam Curtis’s fascinating television series ‘The Century of the Self’, suggesting how the business and political world, following the work of Freud’s cousin Edward Bernays, utilised psychoanalytical techniques to read, create and fulfil the desires of a mass democracy. The self as an irrational

and selfish subject: a hapless or willing consumer.

NW: And what sort of size is the work?

Maybe it could go in the middle zone.

MW: I see it working as a reference to a portrait hanging in a study. So it would be my height – one metre eighty. But standing self-importantly on a plinth. And I’d like to include one of the labyrinth works, the St James’s Park one which resembles the cerebral hemispheres of the brain. You are encouraged to trace the path to its centre.

NW: I see here that you have selected some work by Louise Bourgeois?

MW: Bourgeois is important to the stand. I was looking at the early works, which would be a good fit with the concept of Freud’s study. With ‘Maison’

by Bourgeois and the touchstone pebbles on trays by Anna Maria Maiolino it would have a ‘cabinet of curiosities’ feel.

I’d definitely also like to include a series of Rita Ackermann’s Fire by Days works and these fantastic Eva Hesse paintings from her Spectre series of 1960. Then Ida Applebroog… the vagina drawings ‘Group A’. And this, ‘Untitled (woman lying in bed)’.

NW: Yes, completely relevant. These Applebroog drawings are from 1969, when Ida was living at home in San Diego as a mother without a studio.

She used to just lock herself in ‘the little sanctuary’ of the bathroom with a sketchpad, a pen and a mirror and just draw for peace and quiet.

Trying to find her inner identity as an artist – after becoming a mother she suddenly felt as if she’d lost that, as if she no longer had any space in her everyday life. And ‘Untitled (woman lying in bed)’ is from a series of images she often made in pairs (although this one is an individual work), surrounding the idea of the window and the gaze.

So in a series of often seemingly trivial scenes of domestic life and everyday routines, the artist depicts intimate scenes obscured by a partially drawn window shade, placing the viewer in the role of ‘Peeping Tom’. In this case there is a blind and the woman is in bed asleep, and in another situation there were two naked boys… each scenario is an imagined scene based around stories she had read in the newspaper.

the altered image references a Black historiography that claims a cultural lineage stretching back to ancient Egypt while additionally citing Sun Ra’s fantasy of discovering a new homeland somewhere in outer space. That would look great above the desk.

MW: And I came across Ellen Gallagher’s take on ‘Abu Simbel’, which actually hangs in the Freud Museum.

I’d like Subodh Gupta’s suitcase, ‘Untitled 16’, in there, and it goes hand in hand with Zhang Enli’s crate painting.

They’re both rational and unconscious, with the hidden, latent contents, like Pandora’s box. Then for the rational side I’ve got Guillermo Kuitca’s ‘People on Fire’, which is almost like a network, so it’s perfect and it will look striking on a red background.

NW: Exactly, Ellen created this work for her show at the Freud Museum in 2005 as it’s taken from a print of the Temple of Ramesses II that hung in Freud’s library. Ellen reworked the faces of the Pharaoh, and incongruous, almost tourist, figures to accentuate the scale.

She then added a spacecraft in plasticine derived from Sun Ra’s film Space is the Place, 1974. The strong humour within

MW: And I’d like to group this gnarly Phyllida Barlow wall-mounted work with Matthew Day Jackson’s ‘Hemophiliac’.

They make a great pair. I see Phyllida’s sculpture as a heart with ventricles in it.

It’s very red and actually it reminds me of an amazing public statue in Folkestone of William Harvey who first developed the theory of circulation and the heart pumping blood around the body. He was also Prince Charles II’s physician and this statue of him is really rather affecting; he’s holding his right hand to his breast, his heart, and his left arm is outstretched holding, you realise with a shock, a human heart.

NW: Absolutely – it’s this notion of mental memory, landscape, aide memoire. He’s creating these

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hypothetical grids, and mapping out fictionalised areas. It’s interesting to include this as a kind of mind map reference.

MW: I’d like to include Roni Horn’s ‘Clownmirror (6)’ on green, and her watercolour ‘For Kafka’s Palindrome’ here at the entrance, across both zones.

In ‘For Kafka’s Palindrome’, Horn embedded this excerpt from Franz Kafka’s Diaries 1910 – 1923 into the four sides of a rectangular form: ‘It would be enough to consider the spot where I am as some other spot’. In which the physical fact of the text and

its meaning are indivisible but contingent on the position of the spectator.

Then Martin Creed’s work is very rational and there’s so much that would fit here. The deadpan logic of aligning cactuses by height, irrespective of any other taxonomy, is very funny I think.

NW: His ‘Work No. 732’ will be part of the Sculpture Park this year. In the film Martin runs up and kicks a bouquet of flowers. It will look spectacular on a large LED wall within the flower beds of the park.

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fig. 5 Installation view, ‘Mark Wallinger’, Kunstnernes Hus, Oslo, Norway, 2010

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All works for sale.

Prices available on request.

Unless otherwise stated, all images: © the artist Courtesy the artist and Hauser & Wirth Inside covers: Payhembury Marbled Papers fig. 1, fig. 2, fig. 5: Image from ‘Mark Wallinger’ by Martin Herbert published by Thames & Hudson Photo: Vegard Kleven fig. 4: Courtesy Freud Museum London

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A STUDY IN RED AND GREEN

IDA APPLEBROOG Untitled (woman lying in bed) Photo: Alex Delfanne PHYLLIDA BARLOW untitled: chairs untitled: holedandtunnelled Photo: Alex Delfanne LOUISE BOURGEOIS The Beggar Maison Arched Figure Š The Easton Foundation/Licensed by DACS MARTIN CREED Work No. 1324 Photo: Alex Delfanne ELLEN GALLAGHER Abu Simbel Photo: Barbora Gerny MATTHEW DAY JACKSON Melancholy Photo: Genevieve Hanson RASHID JOHNSON Untitled (daybed 5) Photo: Alex Delfanne GUILLERMO KUITCA People on Fire Photo: Barbora Gerny ANNA MARIA MAIOLINO Untitled, from Entre o Dentro e o Fora (Between Inside & Outside) series Photo: Genevieve Hanson PIPILOTTI RIST Geburtsort ist Zufall (Birthplace Is Random) Photo: Stefan Rohner ROMAN SIGNER Hocker mit Lampe (Stool with light bulb) Photo: Barbora Gerny MARK WALLINGER Self-portrait Photo: Alex Delfanne

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