Frieze London, running until 13th October, is an experience that teeters between exhilarating and overwhelming. Each year, the sprawling tent in Regent’s Park transforms into a magnet for collectors, curators, gallerists and artists, all of whom converge for what has become a high-stakes, high-energy showcase of contemporary art. The scale is staggering. Room after room unfolds in endless succession, and the sheer volume of work on display raises the question: how does something so expansive manage to slip in and out of London with such ease?
If you’re hoping for a quiet, profound art experience, Frieze might not be the place. Instead, the fair offers a snapshot of the global art market, where the biggest galleries – along with some noteworthy smaller players – showcase what they believe deserves attention, praise and a price tag. It’s more of a spectacle, where walking through the fair feels like window shopping in a hyper-curated world of aesthetic possibilities. There’s an undeniable thrill in wandering, imagining what it would be like to own a Caroline Walker or a Jesse Mockrin.
Frieze can certainly feel like a maze, but amid the sea of works, there are unmistakable highlights. The return of the “Artist-to-Artist” section, following its well-received debut last year, is a standout. Here, Mariane Ibrahim presents Peter Uka, whose deeply reflective figurative paintings are rooted in his memories of 1970s and 1980s Nigeria. Uka’s work captures moments of stillness – figures lost in thought, waiting, contemplating.
In contrast, the “Smoke” section, focused on ceramics and clay, offers a refreshing break from the oversized canvases or sculptures with hidden sound systems that unexpectedly moan at you. It’s a quieter, more introspective space, featuring artists like Ayla Tavares and Lucía Pizzani, who draw on ancient techniques and non-Western histories. A highlight is “Murmurs”, with new works by Karla Ekaterine Canseco and Roksana Pirouzmand, exploring the alchemic link between ceramics and diasporic or Indigenous histories. Pirouzmand’s clay tablets, painted in shades of clay slip, depict female figures intertwined with landscapes – beautiful pieces that convey much with minimal detail.
For those drawn to the bizarre, Jenkin Van Zyl’s installation at Edel Assanti doesn’t disappoint. Van Zyl has created an immersive sauna experience, housing a film filled with skeletal, pink creatures prancing through an abandoned pool. It’s strange, surreal and uncomfortably engaging.
Over at James Cohan’s booth, Jesse Mockrin and Kennedy Yanko present works that delve into art history with a transformative twist. Mockrin’s The Descent (2024), which reinterprets the Abduction of the Sabine Women, is particularly striking. Her paintings challenge and reconfigure traditional narratives, offering a radical reinterpretation of their historical sources.
At Ginny on Frederick, Charlotte Edey’s solo presentation feels like a much-needed escape. Her delicate, surreal works, rendered in materials like white jade and silk, are dream-like, offering a moment of calm amidst the frenzy. Edey’s pieces create an atmosphere of introspection, inviting viewers to pause and reflect in a space that feels both intimate and otherworldly. Kinke Kooi’s glimmering works at Adams and Ollman are equally captivating. Her use of found jewellery within acrylic and pencil compositions gives the works a tactile, almost playful quality. Self Reflection (2024) stands out with its intricate, jewel-like details.
Perhaps the fair’s most Instagrammed offering is Benedikte Bjerre’s The Birds (2017), featured at Palace Enterprise’s booth. This delightfully whimsical installation features 125 helium-filled penguins bouncing about the floor. It’s cheeky, it’s funny, but beneath the whimsy lies commentary on our insatiable appetite for spectacle – and the ever-present threat of climate change looming in the background. There’s something oddly mesmerizing about watching the penguins respond to the movements of passersby… A definite must-see!
In many ways, Frieze London is a marathon – both physically and mentally. Its vastness is daunting, its energy frenetic. But within the chaos lies a treasure trove of discovery, and a glimpse into the ever-evolving landscape of contemporary art. It leaves you both dazzled and reflective, with more art than you could possibly digest in a single visit. But that, perhaps, is part of the fun.
Heads up: tickets aren’t exactly a bargain – general admission this weekend runs from £56 to £90 if you want the Frieze Masters experience too.
Constance Ayrton
Image: Linda Nylind. Courtesy Frieze / Linda Nylind.
Frieze London 2024 is on from 2nd until 18th October 2024. For further information or to book visit the exhibition’s website here.