What Are Galleries Showing at Frieze L.A. 2024?
Directors and founders of six spectacular galleries—including Various Small Fires, Pilar Corrias, and Roberts Projects—offer an early peek at highlights of their booths.
The Harrison Studio, Composting in the Pentagon with Worm Tailings (2017). Wood, redworms, steer manure, chicken manure, soil, compost, and plastic sheeting. 237.49 x 248.92 x 58.42 cm. Courtesy the artist and Various Small Fires, Los Angeles.
Adrian Zuñiga, Director at Various Small Fires, Los Angeles
We will be showcasing a powerful presentation of VSF artists who have been grappling with the inevitable impact of climate change for decades.
Issues like these lie at the core of VSF's programming, and they also nod to the Getty's Pacific Standard Time 2024 theme, Art & Science Collide.
We are excited to stage a version of Making Earth, 1970 (1970–ongoing) by The Harrison Studio. It was their first clear eco-political work, performed for the first time at the University of California San Diego. The Harrisons would go on to make earth many times, in many contexts.
The danger posed to topsoil by modern farming is highlighted by Helen and Newton's approach to 'countering extinction' by making earth. We will show it in two forms: documentation of the original work in 1970 and a later iteration, ca. 2017, that proposes an earthworm-fueled compost pile in the shape of the pentagon, tying soil security to national security.
Pilar Corrias, Founder of Pilar Corrias, London
We will present a selection of new paintings and works on paper by Sabine Moritz.
There is a sizable amount of curatorial and museum interest in her work in the U.S. so it feels like the right time to bring it to the West Coast for museums, curators, and private collectors alike to see the work in real life.
Experiencing a work physically allows viewers to experience its magic, rather than seeing works through a screen. The artist will be present at the fair.
Highlights of our presentation include the new works Artemis' Grove (2024), the largest painting to feature in the booth, and For the Lovers VIII (2024), which will be accompanied by For the Lovers VII (2023).
HyungTeh Do, CEO of Gallery Hyundai, Seoul
We are presenting a solo booth of paintings by Kim Sung Yoon, complemented by a body of ceramic works by Yoo Eui Jeong, which are depicted in Kim's paintings.
An emerging Korean figurative painter, Kim continuously explores the potency of painterly representation and the efficacy of the medium in encompassing a broad range of times and spaces in an era inundated with digital imagery.
Our booth will highlight his recent body of floral still lifes made by rearranging digital images of flowers from different regions and seasons using graphic tools to place them in a single vase.
Together, Kim's paintings and Yoo's ceramics foster a dialogue that transcends dimensions and mediums, as well as providing a prime example of artistic traditions explored by younger generations of Korean artists today.
Bennett Roberts, Founder of Roberts Projects, Los Angeles
We are pleased to present a tightly-curated selection of works that interpret and subvert the meaning of 'oasis' from a diverse range of perspectives.
Works by contemporary artists including Amoako Boafo, Daniel Crews-Chubb, Suchitra Mattai, Collins Obijiaku, Ed Templeton, and Brenna Youngblood conjure sensations of relief that nurture the human spirit while contemplating the hardships from which we seek refuge.
A major highlight of our booth is Betye Saar's neon work Oasis, which debuted at MOCA Los Angeles in 1984. This year marks the 40th anniversary of Saar's transcendent solo exhibition, which featured room-sized installations that shared profound insight into ritual, spirituality, and African American identity.
Another highlight is Suchitra Mattai's between oceans (2024), a new mixed-media sculpture that was created especially for the fair.
Breanne Bradley, Director at Commonwealth and Council, Los Angeles
We've brought works from Suki Seokyeong Kang's exhibition at Leeum Museum to Los Angeles to share with those who were unable to attend, and works by Lotus L. Kang ahead of this year's Whitney Biennial and our first exhibition with her in November 2024.
Suki utilises her mastery of traditional oriental painting to create these contemporary forms whereas Lotus looks back at her Korean heritage and family memories to explore ideas of belonging. Our programme is very diasporic but something we're constantly confronted with is that diaspora transmits both ways.
In a sheet of unfixed film, Lotus L. Kang is able to poetically capture the idea of these works as skins, in self attributed categories of bruise, blood, or bile. I'm eager to see how the work subtly evolves in the Frieze tent, which will operate similarly to a greenhouse used for tanning.
Suki Seokyeong Kang's sculpture provides us with just one interpretation of autumn, part of a larger body of work referencing all four seasons in various forms.
Viola Angiolini, Senior Director at Jeffrey Deitch, New York
Our two-person booth will feature new paintings by Celeste Dupuy-Spencer and sculptures by Isabelle Albuquerque.
With distinct languages and styles, both artists create cross-temporal conversations with the history of art and the present moment.
Dupuy-Spencer's new paintings expose the human and visceral side of conflict. They are mythological and painfully contemporary at the same time.
Albuquerque's Orgy for Ten People in One Body: 4 (2020) is a self-portrait of the artist in rubber and wood. In this sculpture, the body is caught in an intangible state of transformation between surrender and dominance that speaks to the dynamics of sexuality, violence, and power. An echo of the sculpture appears in Miranda July's forthcoming novel All Fours. —[O]
