{"id":17301,"date":"2014-10-22T10:39:55","date_gmt":"2014-10-22T08:39:55","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=17301"},"modified":"2014-10-22T10:39:55","modified_gmt":"2014-10-22T08:39:55","slug":"me-myself-and-art-3-off-site-during-frieze-week-in-london","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/me-myself-and-art-3-off-site-during-frieze-week-in-london\/","title":{"rendered":"Me, Myself and Art #3: Off-Site during Frieze Week in London"},"content":{"rendered":"

\"Shanzai Shanzai Biennial at Project Native Informant. Taken with Samsung Galaxy Alpha.<\/p>\n

In our “Me, Myself and Art” series, in collaboration with Samsung Galaxy Alpha, Sleek takes an immersive approach to the art world. Via the medium of writer and stylist\u00a0Ella Plevin<\/a>, and her shiny new Samsung Galaxy Alpha, we bring the art world to you in a uniquely personalised way, utilising performance, selfies and video to present new perspectives on the art scene.<\/strong><\/p>\n

With the Frieze social circus as a backdrop and the reassurance of a flight booked back to Tegel airport, London is bearable and fun. I started to love (not resent) the TFL scramble, being greeted as “orrrite dawlin” and always carrying an umbrella. I bumped into friends everywhere, even among the tourist slew of Oxford Street, which rarely happened when I lived here. I used my full-English-fuelled enthusiasm to race up and down the Northern line, catching more great events and shows in one week than I might see in a month in Berlin. I was sad to miss Pierre Huyghe at Hauser and Wirth, exhibitions at either of the Tates (Modern or Britain) and “Increasingly Skeptical Bodies Begin To Come Forward” at Welcome Screen, but you can\u2019t catch \u2018em all. At least, not during Frieze Week with an Oyster Card.<\/p>\n

\""Modern “Modern Family” by Ed Fornieles at the Chisenhale Gallery. Taken with Samsung Galaxy Alpha.<\/p>\n

It was difficult to fault most of the shows I did see and if you\u2019re in London before 9 November, I can\u2019t recommend Ed Fornieles<\/a> at Chisenhale highly enough. Hugely divisive (I heard opinions ranging from “progressive, feminist, cinematic” to “problematic, sexist, a mess”) and undeniably chaotic, Fornieles filled the gallery space with sculptural set pieces, screens, enormous canvas works and even performers described by the artist as “human GIFs” in an effort to address the archetypal roles and mainstream myths proffered by Western media, culture and social convention. Although using tropes tapped from popular film, television and other romantic portrayals of American suburbia, I found the show extremely intimate and haunting.<\/p>\n

\"IMG_20141016_193906\" Taken with Samsung Galaxy Alpha.<\/p>\n

Over in Central London at new space, Evelyn Yard, Amalia Ulman<\/a>\u2019s solo show “The Destruction of Experience” was presented with a single illustration by renowned Japanese illustrator Hajime Soroyama. The exhibition surprised and impressed me, presenting a deeper insight into the artists concerns than her vast online presence. I felt uncomfortable watching her recent performance on Facebook and Instagram, “Excellences and Perfections”, detecting a hint of snobbery in her reading of the glossy blonde consumer honey who has only read Salinger. I felt I understood Ulman\u2019s intentions in dealing with reductive archetypes but found the nihilistic tone troubling. “The Destruction of Experience”, while still laced with signature pale cynicism, displayed a new and uplifting steak of confidence (in the future?) buoyed by deft execution and clarity of vision. After attending Friday\u2019s ICA panel discussion with Ulman in conversation with arts writers Hannah Black and Derica Shields, I have started to think of Excellence and Perfections as more interesting if considered as contextual research rather than as a complete work.<\/p>\n

\"Artist Artist Amalia Ulman in conversation with artist and writer Hannah Black and writer and editor Derica Shields as part of the ICA\u2019s Art in Circulation panel series. Taken with Samsung Galaxy Alpha.<\/p>\n

\u00a0The very first show I saw last week was at Project Native Informant\u2019s snug Mayfair space on Brook\u2019s Mews. Shanzhai Biennial presented “100 Hamilton Terrace”, pairing up with high-end brokers Aston Chase to transform the gallery and a booth at Frieze<\/a> into functioning real estate sales ground for a (\u201cstunning 6 storey\u201d) London property. The move plays up the phenomenon of Frieze, a retail ground for the ultra-rich held in a city where the consistently steep annual rise of house prices (10%) now outstrips inflation.<\/p>\n

\"Timur Timur Si-Qin at Carl Kosty\u00e1l. Taken with Samsung Galaxy Alpha.<\/p>\n

Another Mayfair space, Carl Kosty\u00e1l, presented new work by Berlin artist Timur Si-Qin<\/a> and an opportunity to duckface without (much) shame. The irritatingly pretentious title and press text were unnecessary to enjoy the three lightboxes and 3D-printed hominid bones encased in frosted plastic. Si-Qin consistently makes visually irresistible, slickly produced work predicated on his beliefs surrounding marketing ritual, contemporary philosophy and evolutionary theory so the location of the show in London\u2019s wealthiest shopping district was apt, although tongue seemed to avoid cheek to some extent.<\/p>\n

\""Heathers" “Heathers” at Rowing featuring artist Lisa Holzer engaged in a Skype conversation with Deanna Havas and Alex Ross and a piece by Havas. Taken with Samsung Galaxy Alpha.<\/p>\n

Two group shows I enjoyed were “Heathers”<\/a> in the North and “Genuine Articles” in the South of the city. I caught the end of Saturday\u2019s casual Skype conversation held at Rowing gallery between artists Deanna Havas<\/a> and Lisa Holzer with curator Alex Ross about hair, art and growing up (online). The event, “New Haircut, New House, New Home” was entitled with an extract from Heathers, the 1988 movie the exhibition takes as a starting point. The cult film, known for its caustic teen wit (“Fuck me gently with a chainsaw” is a classic line) lends the show its tone: part earnest teenage bedroom idolatry, part cynical adolescent posturing.<\/p>\n

Read a full review of “Heathers” at Rowing<\/strong><\/a><\/p>\n

\"JUPITER Taken with Samsung Galaxy Alpha.<\/p>\n

“Genuine Articles” at Jupiter Woods brought together works questioning authorship within visual networks. The self-recycling mushroom garden installation at the rear (\u201cThe Mycological Twist\u201d from artists Eloise Bonneviot and Anne de Boer) adds a complimentary touch to a show about dissemination and decay.<\/p>\n

\"Cecile C\u00e9cile B. Evans at Seventeen Gallery. Taken with Samsung Galaxy Alpha.<\/p>\n

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\"Yuri Yuri Pattison at Cell Project Space. Taken with Samsung Galaxy Alpha.<\/p>\n

Two other notable shows in East London also focused on mediated emotion and post-internet problematics: Yuri Pattison\u2019s sparse but clever “Free Traveller” at Cell Project Space(on until 2 November) and C\u00e9cile B. Evans<\/a> confidently positioned “Hyperlinks” at Seventeen Gallery (closing December 6th<\/sup>).\u00a0<\/p>\n

Text von Ella Plevin<\/a><\/strong><\/p>\n

<\/strong>See more photos and videos from London below<\/strong>\u00a0<\/strong><\/p>\n

To see more from our Me, Myself and Art<\/a> series and to enter to win a Samsung Galaxy Alpha of your own, check out our #SleekAlphaSelfies competition<\/a><\/strong>\u00a0<\/a><\/p>\n

Check out previous entries here on our\u00a0#SleekAlphaSelfie Tumblr<\/a><\/strong><\/p>\n