What Are Galleries Bringing to Frieze London 2023?

Owners and directors of six leading galleries—Krinzinger, Ingleby, Kate MacGarry, Vardaxoglou, Night Gallery, and Ginny on Frederick—share highlights of their booths ahead of Frieze London, which runs from 11 to 15 October.

Ursula Krinzinger, Founder of Galerie Krinzinger, Vienna

We will be showing a strong focus on Marina Abramović, specifically on the Series 'Energy Clothes', conceived in 2001 and being exhibited for the first time at Galerie Krinzinger in summer 2023.

Abramović produced a series of objects to be worn as clothing—Energy Hats, Energy Masks, and Energy Bands, made of locally sourced silk in seven bright colours and with magnets as the energy force. She instructed her students on how to use the clothing as they went about their daily routines, taking a bath, ironing clothes, watering plants, brushing their teeth, and so on.

The Energy Clothes offer the public a means to use to retrieve, transmit and trigger energy within the body. The artworks being exhibited have been extracted from Marina Abramović's archive, untouched for over two decades, and will be shown alongside photographic works taken 20 years later.

In a separate section within the booth we will also be showing works by other artists from the programme, such as Monica Bonvicini, Angela de la Cruz, Waqas Khan, and Radhika Khimji.

Richard Ingleby, Director, Ingleby, Edinburgh

Over the 25 years of our gallery's existence we have come to see our role as twofold. On one hand to represent and exhibit the best of Scottish Contemporary art out in the wider world, and on the other to bring international art to Scotland as a context for that activity at home.

Our presentation at Frieze London is always a hybrid of both halves. It is our home fair, and yet it's 400 miles from our front door, so this year we have a mix of work from Scotland and elsewhere drawn from the gallery's programme in 2023 and anticipating 2024.

We have some exceptional painting on our booth this year, and choosing between the likes of Andrew Cranston and Caroline Walker seems invidious, but if you are forcing me to choose just two works I'd point to Hayley Barker and Aubrey Levinthal, two international artists who have very recently joined the gallery's programme.

They are both American, and resolutely doing their own thing as 21st century painters, yet they paint with an awareness of an older, intimate, perhaps more European, sensibility—think Pierre Bonnard in Hayley's case, and Edouard Vuillard in Aubrey's. Both of their work balances a kind of dense interiority with an openness that leaves the viewer a way in and out of the painting. We are proud to represent them both.

Kate MacGarry, Founder of Kate MacGarry, London

This year we are bringing newly represented artists to the booth, Dawn Ng and Grace Ndiritu, who will both have their first solo exhibitions at the gallery in 2023. We are also exhibiting new work by Peter McDonald, Francis Upritchard, Peter Liversidge, and Goshka Macuga.

In 2022, Grace Ndiritu's Black Beauty (2021) won the Jarman award and was also screened at the 72nd Berlin International Film Festival. Hinging on the figure of a black fashion model, the video brings the intellectual legacy of Argentinian author Jorge Luis Borges into conversation with questions related to fashion, the environment, migration, and Indigenous communities.

We're also pleased to present a solo booth by Rose Finn-Kelcey at Frieze Masters. One for Sorrow, Two for Joy, Performance Sequence (1976 / 2012) is a work Finn-Kelcey performed over two days and nights in the window of the Acme Gallery in Covent Garden, accompanied by a pair of tame magpies whose recorded calls were broadcast to onlookers in the street.

The performance was a direct response to Joseph Beuys' habitation with a coyote, I Love America and America Loves Me (1974). The magpies symbolised Finn-Kelcey's alter-ego, a mythical female species associated with witchcraft and mischief, representing the search for her role as a female artist in a male-dominated art world.

Alex Vardaxoglou, Founder of Vardaxoglou Gallery, London

In my gallery's first art fair presentation I am excited to show Tanoa Sasraku's newest 'Terratypes', a body of work which draws on the artist's personal and historical connection to the British landscape.

Tanoa Sasraku's Terratypes are unique, sculptural hybrids of painting, drawing, collage, printmaking, and textiles.

These particular works include minerals Tanoa foraged in spring 2023 from coastal Ghana, the homeland of her late father who worked there as a couturier.

Informed by her experience of his death when she was a teenager growing up in the West Country, the artist here fuses together red iron earth pigments, foraged from mining regions of both Ghana and Cornwall, whilst using garment patterns to re-imagine her father's body via the tools of his trade.

Davida Nemeroff, Owner of Night Gallery, Los Angeles

We just announced our representation of painter Tahnee Lonsdale, and we're thrilled to present new paintings of hers at Frieze London. There's something haunting and uncanny about the artist's tender figures, and we wanted that mood to prevail across the other works in the booth.

We curated a presentation of paintings and sculptures that suggest various ghosts: of bodies, memories, and childhood tales. Tahnee Lonsdale's paintings depict rounded, pared down figures whose limbs wrap around each other in gestures of tenderness. Altogether, the canvases will generate this unique, feminine community of care.

We're also thrilled to exhibit a new marble sculpture by Reza Aramesh.

Action 241: Study of the Head as Cultural Artefacts (2023) continues the artist's ongoing sculptural interventions from archival images of war that portray the violated body, forced into public scrutiny, bereft of any characteristic.

Freddie Powell, Founder of Ginny on Frederick, London

Jack O'Brien was the very first artist to show with the gallery, just over two years ago, so it's a very full circle moment to be showing how his work keeps on evolving for our first presentation at Frieze.

Through new large scale works made specifically for the fair, the booth is a great insight into both his working methods and wider sculptural practice.

The majority of our booth is given over to a new large scale site specific sculptural work, Volent, that continues Jack's fascination with wrapping large scale found objects. By creating a taught and iridescent skin over the skeleton or scaffolding of the object, Jack unpacks the erotics of restraint and production of desire.

Alongside this, we have a viewing room of wall based sculptures and works on paper, focused on commercial images and the visual codes of late-capitalism. —[O]