[Ropac] FriezeSeoul24 Preview EN
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Frieze Seoul 4—7 September 2024 Booth C5
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BOSS belongs to Antony Gormley's series of Big Assembled Blockworks undertaken in 2019. Through the Blockworks, the artist investigates the role of architecture in shaping the conditions of human experience. Imagined on a large-scale, the Big Assembled Blockworks are conceived as ‘reverse caryatids’ by the artist. The figurative columns lean against the wall for support, so that ‘rather than supporting the building they are supported by it’ as he explains. For Gormley, this prompts ‘questions about our dependency on our second-body – that of the built environment.’ The title of BOSS evokes ideas of hierarchy and authority, and how they might be expressed through the physicality of the body and the spaces it occupies. A solo exhibition of the artist’s sculpture is currently installed across the grounds of Houghton Hall, Norfolk until 31 October 2024. His work will also be on view in dialogue with that of Czech architect and poet Pavla Melková at the Galerie Rudolfinum in Prague from 5 September 2024 to 5 January 2025. Antony Gormley BOSS, 2019 Cast iron 195 x 36.6 x 34 cm (76.8 x 14.4 x 13.4 in) (AG 1868)
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Georg Baselitz De Koonings Hand, 2019 Bronze fire-gilded 156 x 52 x 2.5 cm (61.42 x 20.47 x 0.98 in) Ed. 5 of 9 (GB 2633.5)
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Joan Snyder Floating Soul, 2018 Oil, acrylic, ink, paper mache, paper and herbs on linen 121.92 x 132.08 cm (48 x 52 in) (JSN 1053) Floating Soul (2018) takes up the rounded form of the mandala as its central motif. Present in various spiritual traditions, the mandala is a tool traditionally used to aid meditation and focus attention. Joan Snyder came to the symbol via the theories of psychoanalyst Carl Gustav Jung who, she explains, ‘says that we make mandalas in times of great disorder.’ Articulated in paint, paper mache and dried herbs, the symbol is surrounded by small pieces of paper carrying notes from the artist. The handwritten text, legible in places and illegible in others, emulates the abstract mark-making that plays out across the painting, including her characteristic strokes. Represented by vertical daubs of paint in pinks, purples and blues, the strokes isolate the most fundamental of painterly gestures – the brushstroke – fusing the confessional nature of Snyder’s written notes with her formal investigation of painting itself. Joan Snyder will have her first solo exhibition with the gallery at Thaddaeus Ropac London in November 2024.
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Tony Cragg Incident (Vertical) (detail), 2022 Stainless steel, 115 kg 150 x 55 x 48 cm (59.06 x 21.65 x 18.9 in) (TC 1341)
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Daniel Richter A Pleasure Drowning , 2018 Oil on canvas 210 x 170 cm (82.6 x 66.85 in) (DAR 1243)
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Robert Mapplethorpe Ken Moody and Robert Sherman , 1984 Silver gelatin print 38.4 x 38.4 cm (15.12 x 15.12 in) Ed. 4 of 10 (RMP 2308) This luminescent black-and-white photograph depicts Ken Moody and Robert Sherman, recurring subjects in Robert Mapplethorpe’s oeuvre. The image is structured around aesthetic and thematic contrasts. Moody and Sherman are rendered in profile against a uniform dark background, which exaggerates the juxtaposition of their closed and open eyes, as well as aesthetic and social ideas associated with blackness and whiteness. In this powerful study, Mapplethorpe draws on formal sculptural traditions and blends them with photography in his pursuit of ‘perfection’ – a word he used frequently – collapsing the two mediums into a single practice to create this timeless expression of male beauty.
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Tom Sachs Chowder, 2024 English porcelain, high fire reduction, Temple white glaze, NASA red engobe inlay, plywood, mini smut tray and hardware 34.3 x 25.4 x 21.6 cm (13.5 x 10 x 8.5 in) (TSA 1500)
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Alex Katz Summer 24, 2023 Oil on linen 152.4 x 213.4 cm (60 x 84 in) (AKZ 2254) Landscapes constituted a central strand of Alex Katz’s oeuvre even before his breakthrough to iconic large-scale portraiture in the early 1960s. In recent years, he has revisited the genre with renewed energy, building an important body of work that marks key conceptual and technical developments in his painterly practice. Executed in oil on linen, Summer 24 (2023) captures a transitory moment: vibrant green leaves seem to quiver on the branches of a tree. Set against a vibrant yellow background, the scene evokes the atmosphere of a hot summer’s day to embody what curator Katherine Brinson describes as Katz’s innate ability of ‘harnessing light’s immateriality through matter.’ The artist’s monumental grass and ocean paintings are shown alongside works inspired by fashion designer Claire McCardell concurrently with the 2024 Venice Biennale at Fondazione Giorgio Cini, Venice until 29 September 2024.
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Jules de Balincourt Arrivals and Departures, 2023 Oil and oil stick on panel 76.2 x 86.4 cm (30 x 34 in) (JDB 2134) In his paintings Jules de Balincourt explores ever-changing landscapes, often imbuing his scenes with psychological undertones. In Arrivals and Departures (2023) the line of trees on either side of the path seem to fall away into shadows coloured in luxuriant shades of blue, green and yellow. The trees abstract and dissolve into painterly brushstrokes that evoke a dreamlike state. In turn, the figures come and go, their forms elongated as they walk towards the buildings. The ambiguous nature of the setting brings the title of the work into question as the scene breaks apart before us, erupting into a vista rooted in imagined time and space.
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Zadie Xa Rough hands weave a knife (detail), 2024 Oil on linen 200 x 180 cm (78.74 x 70.87 in) (ZX 1059) The cloaked female figure who navigates the steamy waters of Zadie Xa’s Rough hands weave a knife (2024) is inspired by Princess Bari, conductor of the souls of the dead to the afterlife in Korean mythology. Her golden cape billows out behind her, seeming to metamorphose into feathered wings or the leaves of the cabbage-like vessel that conveys her across the water. For Xa, hybridity is a means to explore diasporic identity, as well as the folkloric and ecological entwinements of humans and animals explored in Korean culture and developed through her own personal mythology. The in-between space traversed by Princess Bari in this work is rendered in dramatic lines that also evidence the artist’s interest in the decorative arts – the Art Nouveau whiplash, in particular. This liminal, aqueous space encapsulates Xa’s fascination with the otherworldly landscapes of symbolist Odil Redon and surrealist Leonora Carrington, and the fantasy art of Frank Frazetta, bringing Western art history into dialogue with Korean mythology.
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Frieze Seoul Booth C5 4—7 September 2024 Opening hours Private view (by invitation only) Wednesday 4 September, 11am—7pm Thursday 5 September, 11am—3pm Public access Thursday 5 September, 3—7pm Friday 6 September, 11am—7pm Saturday 7 September, 11am—7pm Address Hall C and D COEX 513 Yeongdong-daero Gangnam-gu Seoul