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Art Market

Frieze week highlights: snow, video art and suspended sculpture

1 October 2018

With hundreds of exhibitions and events vying for your attention in London during Frieze week, Apollo’s editors pick out the shows they don’t want to miss

Kerry James Marshall: History of Painting at David Zwirner (3 October–10 November); ‘Adam Pendleton: Our Ideas’ at Pace (2 October–9 November)

Marshall’s depiction of the lives of ordinary African Americans seeks to expand the traditional ways in which painting has been understood. For his second exhibition at David Zwirner, which presents new work (and follows a major US retrospective in 2016/17), he continues this examination of the medium, posing questions of black visibility and identity – often from a personal perspective. At Pace, meanwhile, Adam Pendleton explores blackness not through figuration, like Marshall, but through abstraction. Known for works that draw on his understanding of ‘Black Dada’, Pendleton’s conceptual paintings and collages often have language at their heart – as is evident in works such as Untitled (A Victim of American Democracy) (2018). Also on show is the Pendleton’s video portrait of the choreographer and film-maker Yvonne Rainer, which features the pair reflecting on their life and work over a meal in Manhattan.

Untitled (A Victim of American Democracy) (2018), Adam Pendleton.

Untitled (A Victim of American Democracy) (2018), Adam Pendleton. Courtesy Pace Gallery; © Adam Pendleton

‘Strange Days: Memories of the Future’ at The Store X The Vinyl Factory/New Museum (2 October–9 December)

A collaboration between The Store X The Vinyl Factory and the New Museum in New York, this exhibition gathers together 21 video artists and film-makers who have shown at the New Museum over the last 10 years – many are making their UK debut. Among the works not to miss are Camille Henrot’s Grosse Fatigue (2013), which tells the story of the universe in a speedy 13 minutes, and Khalil Joseph’s Fly Paper (2017), an absorbing contemplation of life in Harlem that draws on the artist’s interest in the work of photographer Roy DeCarava. The impressive roster of artists also includes John Akomfrah, Ragnar Kjartansson, Laure Prouvost and Wu Tsang.

Installation view of Fly Paper (2017) by Khalil Joseph, The Store X Berlin, 2018.

Installation view of Fly Paper (2017) by Khalil Joseph, The Store X Berlin, 2018. Photo: Jack Hems

‘Melanie Manchot: White Light Black Snow’ at Parafin (28 September–17 November)

Melanie Manchot is having a moment. The first solo exhibition at Parafin for the London-based German artist coincides with the presentation of a new film and installation at the Nunnery (30 October–25 November), and a major survey show the artist’s first in France – at MAC VAL in Paris (20 October–24 February 2019). ‘White Light Black Snow’ includes a new set of photographic works which continue the artist’s investigation into the landscape and community of Engelberg in Switzerland. The exhibition also includes a new film, Cadence (2018), which adopts an aerial perspective and shows a horse circling a white landscape.

Above/Below (2017), Melanie Manchot.

Above/Below (2017), Melanie Manchot. Courtesy Parafin, London; © Melanie Manchot 2018

‘Suspension: A History of Abstract Hanging Sculpture. 1918–2018’ at Olivier Malingue (1 October–15 November)

This exhibition of abstract hanging sculpture, curated by Matthieu Poirier and featuring 50 artists, takes place across two spaces in London and Paris (to coincide with Frieze and FIAC). It presents changing forms of sculptural display throughout the 20th century and the interactions between artwork, architectural space, and viewer.With 13 artists on show, the London iteration at Olivier Malingue (1 October–15 November) is the smaller of the two exhibitions. The Paris presentation is staged in the imposing setting of the Palais de’Iena from 16–28 October and includes fine examples of the genre by Alexander Calder, Yves Klein, Tomas Saraceno and Ernesto Neto.

Untitled Blue Planetary Relief (1961), Yves Klein.

Untitled Blue Planetary Relief (1961), Yves Klein. © ADAGP, Paris and DACS, London 2018