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Looking Forward: Suzanne Cotter

Curators from influential institutions predict their Frieze London highlights

Santo Tolone, Salvatore (Orange Ceiling), 2015, wood, fabric, 200x143x31cm. Courtesy: the artist and Limoncello, London

Santo Tolone, Salvatore (Orange Ceiling), 2015, wood, fabric, 200x143x31cm. Courtesy: the artist and Limoncello, London

I tend to visit art fairs with an eye for the vast comparative survey of work that can be seen at any one time, and the evident temperature of market taste. But I also anticipate the possibility of discovery, as well as the odd moment of private delectation. ‘Auto-Abstraction’ (Limoncello, London/Taro Nasu, Tokyo, B13) conceived by artist Ryan Gander, has the potential to tick all these boxes. A shared display concept across two galleries (one based in London, the other in Tokyo), with abstraction as its focus and chance as its mode of operation, it suggests both knowingness and something of the unexpected. My curiosity is aroused by the idea of Gander’s division of each gallery’s stand with a range of artworks selected by a John Cage-like throw of the dice, as well as the possibilities of abstraction interpreted by artists from a transnational roster. Combined with Gander’s Georges Vantongerloo-inspired plinth design, this promises to be an exquisitely playful piece of theatre that is also very rich in content.

Suzanne Cotter is director of Museu Serralves in Porto

Issue 3

First published in Issue 3

October 2016
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