Frieze London

Past
Oct 9 – Oct 13, 2024
London

ART FAIR DETAILS

Frieze London
Booth D21
Regent's Park
Oct 9 – 13, 2024

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Above: Emily Kam Kngwarray, Untitled, 1992 © Emily Kam Kngwarray/Copyright Agency

Pace Gallery is pleased to announce the details of its presentation for the 2024 editions of Frieze London and Frieze Sculpture.

Featuring paintings, sculptures, installations, textiles, and photographs, Pace's booth (D21) at Frieze London will highlight contemporary artists from its upcoming exhibition program at its London gallery. During the run of the fair, a two-part exhibition of new work by Robert Longo—including his first Combines in over thirty years—will be on view at Pace and Thaddaeus Ropac.

Pace will return to Frieze London with works by artists including Acaye Kerunen, Emily Kam Kngwarray, Sonia Gomes, William Monk, Arlene Shechet, Mika Tajima, and Hank Willis Thomas, each of whom will hold solo exhibitions at the gallery's Hanover Square location throughout 2024 and 2025. The booth will also feature new works by Genesis Belanger and Robert Longo, coinciding with their exhibitions at Pace in London.

Nigel Cooke, Keith Coventry, Kevin Francis Gray, and Pam Evelyn, London-based artists, will be represented at the fair with paintings, sculptures, and works on paper. Evelyn will also hold her first U.S. exhibition in November at Pace's 510 West 25 th Street gallery in New York. Additionally, the gallery will showcase a sculpture and a mixedmedia work by Alicia Kwade, alongside paintings by Alejandro Piñeiro Bello, Latifa Echakhch, and Marina Perez Simäo, who is currently presenting her first institutional exhibition in Germany at the G2 Kunsthalle in Leipzig, running through March next year.

Pace's presentation will also include works by artists preparing for institutional solo exhibitions in 2024 and 2025.

Artist duo Elmgreen & Dragset, who are represented at the fair by a new marble sculpture, will open L 'Addition in the Musée d'Orsay's iconic sculpture nave on October 15. Next year, Emily Kam Kngwarray will be the subject of a major retrospective at Tate Modern, and Yoshitomo Nara—also featured at Frieze Sculpture this year—will present a survey exhibition at the Hayward Gallery. A new painting by Adam Pendleton will also be included in the booth ahead of his show at the Hirshhorn Museum and Sculpture Garden in Washington, DC, next spring.

A painting by Paulina Olowska will also be featured on Pace's booth. Following Frieze London, Olowska will present a curated booth for the gallery at Art Basel Paris, exploring occultic themes in the works of Louise Nevelson, Lucas Samaras, and Kiki Smith. In November, she will open her first solo exhibition at Pace's Geneva gallery, titled Widows of the Wind.

Frieze Sculpture

Ennui Head by Yoshitomo Nara — Yoshitomo Nara, *Ennui Head*, 2020, urethane on bronze, 51-3/16" × 47-1/4" × 27-9/16" (130 cm × 120 cm × 70 cm) © Yoshitomo Nara

Pace will show Yoshitomo Nara's 2020 sculpture Ennui Head as part of the 12th edition of Frieze Sculpture, on view from September 18 — October 27.

Originally conceived as a small, palm-sized clay piece, Ennui Head has been enlarged, cast in bronze, and coated in white urethane. Nara has explained that his shift toward sculptural massiveness stems in part from a desire for his works to "remain in the history of art... to survive as long as humankind exists." Ennui Head exemplifies Nara's exploration of bronze, which he first introduced in his 2012 solo exhibition a bit like you and me... at the Yokohama Museum of Art in Japan.

Following the 2011 tsunami that severely impacted the Aomori province, Nara reevaluated his artistic practice and became interested in working with clay, a process that evoked his childhood experiences with handcrafting. "l just wanted to put all my energy into hand-thinking," he explained, "and I began to work on a massive lump of clay to create bronze sculptures. It helped: I accordingly recovered my hands for painting through this process."

Ennui Head melds the physical, natural world with portraiture, sharing a sensibility with Nara's graphite drawings through its use of shadow and line. The visible pressure of the artist's fingers and the figure's hollowed eyes subvert the work's implicit cuteness, revealing the complexities of emotions beneath the surface—ranging from anger to melancholy, and serenity to ennui.

Featured Works

Peter Hujar

b. 1934, Trenton, New Jersey
d. 1987, New York, New York

Marina Perez Simão

b. 1980, Vitória, Brazil

Hank Willis Thomas

b. 1976, Plainfield, New Jersey

William Monk

b. 1977, Kingston upon Thames, United Kingdom

Pam Evelyn

b. 1996, Surrey, United Kingdom

Emily Kam Kngwarray

b. 1910, Alhalkere, Utopia, Australia
d. 1996, Mparntwe/Alice Springs, Australia

Emily Kam Kngwarray, the first Indigenous Australian woman to achieve critical success in her lifetime, created work deeply intertwined with the beliefs and traditions of the Anmatyerre people, of whom she was a respected elder. [1] Though her work has been likened to Abstract Expressionism, it has no reference in Western art. [2] Her paintings instead draw inspiration from Anmatyerre beliefs and ceremonies as well as the critical forces in her environment, including rain, seeds, and wildlife. The artist created Untitled (1992) and the two works here displayed as a pair,

After Summer and Alalgura Awelye I (both 1994), during the middle of her brief career, a period when she was expanding her color palette to reflect the seasonal changes in her homeland Alhalkere, also called Alalgura. Painted with loose brushstrokes and trailing dots, the swirling pinks, creams, bright yellows, and pale oranges evoke the blooming wildflowers of springtime. Drawing on the tradition of Awelye, a women’s ceremony that includes body painting, Kngwarray often worked outdoors, sitting on her canvases as she painted, using her whole body to create a continuum of lines and dabs of paint. These paintings exemplify the artist’s connection to her surroundings and the rich traditions of the Anmatyerre community.

1. Judith Ryan, “ (opens in a new window) Points of View: Emily Kam Kngwarray Anwerlarr anganenty (Big Yam Dreaming) pt1,” National Gallery of Victoria, Melbourne, 9 July 2014, YouTube video, 14:25

2. Jennifer Green, “The life and legacy of Emily Kam Kngwarray,” in Emily Kam Kngwarray (Canberra: National Gallery of Australia, 2023), 140.