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Announcing Frieze Projects Los Angeles

Large-scale commissions by Karon Davis, Cayetano Ferrer, Barbara Kruger, Paul McCarthy, Tino Sehgal and more, will activate the cinematic setting

At the launch edition of Frieze Los Angeles (February 15-17, 2019), artist projects will be encountered around the New York Street backlot of Paramount Pictures Studios, in buildings, streets, and interior spaces that have been captured countless times on screen. Frieze Projects will create a disorienting atmosphere where visitors are in two places at once: an artificial New York City within Los Angeles.

“For the first edition of Frieze Los Angeles I invited artists who live, work or have histories with the city to develop projects responding to the fair’s untraditional site and context” said Curator Ali Subotnick. “Each artist has embraced the opportunity, and challenge, and the results are often magical and otherworldly, surreal and hyper-real, but never dull.”

Spanning performance, installation and sculpture, featured artists include Lisa Anne Auerbach, Sarah Cain, Catharine Czudej, Karon Davis, Cayetano Ferrer, Hannah Greely, Trulee Hall, Patrick Jackson, Barbara Kruger, Paul McCarthy, Kori Newkirk, and Tino Sehgal with more to be announced in the coming months.

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Lower East Side, Paramount Pictures Studios

Launched with the first Frieze Art Fair in 2003, Frieze Projects is an independently curated platform for artists to show ambitious, experimental work beyond gallery booths and outside the fair tent. Bettina Korek (Executive Director, Frieze Los Angeles) said, “As an extension of the fair’s programming beyond the booths, Frieze Projects asks artists to respond to the Paramount urban street backlot, a stand-in for a real city and a symbol of Los Angeles’s distinct and vast creative ecosystem.”

About the Projects

Leading guests from the fair tent to the streets of the backlot film set, stickers designed by Barbara Kruger will prompt visitors to contemplate philosophical questions such as “Who will write the history of tears?” “Are there animals in heaven?” or “Who salutes longest?”.

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Sarah Cain, Now I’m going to tell you everything, 2017. Installation view, Institute of Contemporary Art, Los Angeles, 2017 – 2018. Courtesy: the artist

Upon entering the studio backlot, Cayetano Ferrer’s dynamic wall piece will evoke New York’s vernacular architecture and signage. Inside the classic brownstone building, a generic domestic interior will be transformed by Sarah Cain with an all-encompassing painting installation that spreads from the walls to the floors and windows and that will also feature a new stained-glass piece, as well as chocolate service, one of the artist’s vices while painting.

Inside the neighboring apartment, Lisa Anne Auerbach will present one-on-one counselling sessions about collecting and creativity with a “Psychic Art Advisor.” Down the street, Karon Davis will present Game, a work that explores how schools have become a place for the hunted—our children—through dramatically staged life-size sculptures.

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Lisa Anne Auerbach, Psychic Center of Los Angeles [from American Megazine 2, 2014. 24 pages: 152.4 x 96.5 cm each]. Courtesy: the artist and Gavlak, Los Angeles and Palm Beach

Across the way, on a classic Brooklyn residential block, Hannah Greely will hang her paintings out to dry, on a clothesline spanning the apartment buildings. Creeping out from the drain at the bottom of the SoHo subway, Trulee Hall’s fluorescent serpent will snake its way in and out of windows and fire escapes, infesting the classic wrought-iron façade.

In a nod to an outdated mode of broadcasting, Kori Newkirk’s antennae sculptures will land haphazardly across the backlot like tumbleweeds blown from the rooftops, gathering colorful detritus along the way.

In the Upper East Side space, Tino Sehgal’s constructed situation, This is competition, will engage with the commercial activity of an art fair, as two gallerists compete to sell the artist’s work. From the theater, visitors will encounter a sub-level set for an interior domestic space, transformed by Patrick Jackson into a classic dark back alley—reflecting on the magic of movie-making.

On a nearby sidewalk, Catharine Czudej’s cartoonish representation of the archetypal American “Teamster”—inspired by a Chinese-made children’s toy—considers the position of working heroes in the real cities of America, and the fake ones we have imagined, both on the studio lot and elsewhere.

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Paul McCarthy, Daddies Tomato Ketchup Inflatable, 2007. Installation view, ‘Paul McCarthy – Air Pressure’, De Uithof, City of Utrecht, Netherlands, 2009. Photo: Misha de Ridder © Paul McCarthy. Courtesy: the artist and Hauser & Wirth

Paul McCarthy, Daddies Tomato Ketchup Inflatable, 2007. Installation view, ‘Paul McCarthy – Air Pressure’, De Uithof, City of Utrecht, Netherlands, 2009. Photo: Misha de Ridder © Paul McCarthy. Courtesy: the artist and Hauser & Wirth

Finally, Paul McCarthy will present an intervention in the backlot’s financial district with a monumental inflatable artwork, exhibited in Los Angeles for the first time.

Additional outdoor sculptures by other international artists will be presented around the backlot and studio campus. Further details and artist projects will be announced in the coming months. 

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