[Ropac] Frieze London 2025 - Preview
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Frieze London 15—19 October 2025 Booth D22
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Engaging with the mechanics of materialism, desire and the construction of value, Sylvie Fleury’s sleek, sculptural works provide a lens through which gender politics, beauty and consumerism can be re-evaluated. Appropriated and recontextualised luxury commodities have been a recurring theme in Fleury’s practice since her Shopping Bag sculptures of the 1990s. In Eros Perfecto (2024), a bronze Versace perfecto jacket is draped over a pair of fibreglass mannequin legs, cut at the thigh and mounted against the wall. These legs – exposed, seductively crossed and lacquered with purple car paint – interject notions of fetishism and power into the space of art. Fleury draws on the legacy of Marcel Duchamp’s readymades, as well as artist Robert Gober’s single-leg sculptures, cast from his own body. PLACEHOLDER (Installation view of fire and branch panels) Sylvie Fleury Eros Perfecto, 2024 Legs, fibreglass, car paint, Bronze/Copper VERSACE Jeans perfecto 90 x 75 x 40 cm (35.43 x 29.53 x 15.75 in) (SF 1367)
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Martha Jungwirth Untitled, 2025 Oil on paper on canvas 240 x 92 cm (94.49 x 36.22 in) (MJ 1533)
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Over the past six decades, Joan Snyder has pioneered a complex, collaged materiality in her art. Consciously working against the male-dominated contexts of Minimalism and Colour Field painting that shaped the New York art scene in the late 1960s, she developed a vocabulary of motifs – roses, fields, grapes, eyes, moons, and the brushstroke itself – through which she explores feelings and personal narratives. Into a Universe (2025) is a dripping constellation of strokes and symbols, scattered like flowers over a pale ground. Dried rosebuds are embedded within thick daubs of paint, creating a richly textured, near- sculptural surface. ‘[I] tell my story with marks and colors and lines and shapes,’ Snyder says. ‘I speak of love and anguish, of fear and mostly of hope.’ Joan Snyder Into a Universe, 2025 Oil, acrylic and rosebuds on canvas 132.08 x 182.88 cm (52 x 72 in) (JSN 1202)
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NAKED BEAUTY (1982) belongs to Gilbert & George’s MODERN FAITH series, which explores the complex hopes and fears associated with contemporary urban life. While retaining the artists’ signature gridded format, here, imagery flows across internal borders to create a striking figural composition over 15 gold leaf panels. Crouched beneath a giant pink orchid, the silhouetted figures of the artists seem to epitomise the distinction that art historian Kenneth Clark famously made between nudity and nakedness in art: the former, ‘balanced, prosperous and confident’; the latter, ‘huddled and defenceless’. As Gilbert & George have noted, when people ‘discuss classical paintings or sculptures, they never say, there’s a naked Roman. It’s always a nude. And these are naked, and we believe there’s a very great difference. Naked isn’t physical, it’s more mental, more frightening.’ Works from the MODERN FAITH series were included in documenta 7 in 1982 and presented in a solo exhibition at the Sonnabend Gallery in New York the following year. The solo exhibition Gilbert and George: 21ST CENTURY PICTURES opens at the Hayward Gallery, London, on 7 October 2025. Gilbert & George NAKED BEAUTY, 1982 Mixed media, 15 panels 181.5 x 254 cm (71.45 x 100 in) (GG 1350)
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Antony Gormley Open Ache II, 2023 (detail) 8 mm Corten Steel, 120 kg 148 x 58 x 66.3 cm (58.27 x 22.83 x 26.1 in) (AG 1861) Antony Gormley is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Open Ache II (2023) belongs to the artist’s ongoing Open Blockworks series, begun in 2014, and depicts a figure constructed from steel boxes, each with one or two open sides. ‘I wanted to open the body up,’ Gormley explains. ‘As you walk around the works, they shift from being very transparent to very dense – they are assembled by the viewer. I seek a tension between open and closed, stability and the potential to fall.’ The body becomes a sequence of interiors and apertures, creating the illusion of ‘light coming from outside,’ he says, ‘from somewhere above and beyond’. The artist is currently the subject of a two-part exhibition, INEXTRICABLE, at Thaddaeus Ropac and White Cube in Seoul, marking his first solo presentation in the city (until 8 November 2025). His work is also on view at the Museum SAN, Wonju, in the solo exhibition Drawing on Space , the largest presentation of the artist’s work in Korea to date (until 30 November 2025). This is accompanied by a new permanent installation at the Museum, entitled Ground , created by Gormley in collaboration with architect Tadao Ando. Recently, the Nasher Sculpture Center, Dallas, opened the first major museum survey of Gormley's work in the United States (until 4 January 2026).
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Georg Baselitz Exotenremix, 2006–07 Oil on canvas 222 x 133 cm (87.5 x 52.25 in) (GB 2919)
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Parataxis (2025) belongs to a recent series of works on canvas in which Liza Lou combines refractive glass beads with oil paint, layering two different temporalities on one canvas to explore the lyrical gesturalism of mid-century Abstraction. In doing so, Lou prolongs the spontaneity of the brushstroke, juxtaposing every movement, splatter and drip with painstaking attention, forging a new experience of painting. ‘The work is about amplification, it’s about making things more ideal,’ Lou says. ‘There’s a poem by Pessoa where he writes about wanting flowers to be more flowers than flowers, and in this body of work I’m using beads as a way to make paint more paint than paint.’ The title, Parataxis, is a figure of speech in which clauses are placed one after the other without the use of a conjunction, which is similar to the indissoluble aspect of the artist’s material. Liza Lou Parataxis, 2025 Oil paint and glass beads on stretched canvas 114.3 x 111.8 x 12.7 cm (41.75 x 40.75 x 1.25 in) (LL 1220)
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Tom Sachs Sarah, 2025 English porcelain, plywood, latex, plastic clamps, steel and hardware 17.8 x 36.8 x 22.9 cm (7 x 14.5 x 9 in) (TSA 1698)
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Alex Katz Lilies 7, 2025 Oil on linen 153.2 x 122.5 cm (60 x 48 in) (AKZ 2534)
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Oliver Beer trained in musical composition before attending the Ruskin School of Art, University of Oxford, and the Sorbonne in Paris, where he studied cinematic theory. This musical background is reflected in his live performances, films, installations, paintings and sculptures, which reveal the hidden acoustic properties of vessels, bodies and architectural environments. In his celebrated Resonance Painting series, Beer employs sound vibrations to compose precise forms on canvas, adjusting the frequencies to produce swelling, rippling patterns: ‘using sound as his paintbrush’, as he puts it. Resonance Painting (Dear World) stems from the artist’s monumental video installation Resonance Project: The Cave, first presented at the recent Lyon Biennale. In it, eight cinema screens showed eight singers each performing their first musical memory inside one of the best-preserved prehistoric painted caves of the Dordogne. Oliver Beer Resonance Painting (Dear World), 2025 Pigment on canvas 200 x 150 cm (78.74 x 59 in) (OB 1556)
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Institutional Exhibitions & Projects Zadie Xa Turner Prize 2025 Until 22 February 2026 The Showroom, London Mandy El-Sayegh Mural Commission Until 15 August 2026 Cartwright Hall Art Museum, Bradford Sean Scully Mirroring 8 October—23 November 2025 Hayward Gallery, Southbank Centre, London Gilbert & George 21ST CENTURY PICTURES 7 October 2025—4 January 2026 The Estorick Collection, London Alvaro Barrington Group Exhibition 11 October 2025—25 January 2026 British Museum, London Bjarne Melgaard Group Exhibition 9 October 2025—22 March 2026 HOME, Manchester