31/08/2018

Our Future; Our Choice


An strong campaign for the UK to remain in the EU:

Our Future; Our Choice




Brexit is messing with your future, your country, your kids and your career. Young people voted against Brexit, and even if you voted Leave, you didn't vote for this mess. It's Our Future; let's make it Our Choice! So.. #OFOC Brexit!! Join us!



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Their website:



Young people's voices must be heard on Brexit.


In the autumn, a decision will be made as to whether or not the deal to leave the EU - negotiated by Theresa May’s government - is good enough for this country. At OFOC, we believe the voices of young people should be heard. We agree that politicians need to focus on the other issues facing this country - an NHS limping from crisis to crisis, social mobility grinding to a halt and an increasingly expensive education system - but they cannot do this while Brexit threatens to harm the very people these crises affect. 

We believe that there is no good Brexit deal for young people.


Brexit means less opportunities, a tougher job market and fewer rights for young people.
Our Future Our Choice is committed to a People's Vote on the final Brexit deal.

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Manifesto

Our campaign will seek to make three main arguments on why stopping Brexit is the only good deal, both for young people and for the country:
Deprivation of opportunities
Our generation is simply asking for the same opportunities that older generations have had.
Our European identity is the only one most of us have ever known. Many of us have been fortunate enough to travel around Europe, to work in Berlin, Frankfurt, Paris hassle free. All of us, so far, have enjoyed the right to do so. Many have met loved ones abroad, and settled either here or there. Every young German, Frenchman, Spaniard, and Italian will continue to enjoy the ability to live, work, and love across an entire continent, and to continue to enjoy their European identity. Our parents and grandparents, for the last forty years, have enjoyed the same opportunities - it is only younger Brits, who desire these opportunities the most, who are to be deprived of them.
Our generation wants the opportunity to lead in the world, to write history - not just read it. We want to solve the problems we care about, like climate change, cooperating hand in hand with our most important friends and allies on the continent.
We fear Brexit will deprive us of these opportunities - to be the engaged, outward looking, Great European Britain that we know we want to be.
Young people do not want Brexit
73% of young people voted to Remain. We are overwhelmingly pro-EU, and yet our country is continuing on its current isolationist path regardless. Our generation are going to have to live with the consequences of a disastrous Brexit which we do not want.
To be sure, the youth vote is worth just as much as anybody else’s. We are not campaigning to disenfranchise anyone, and we wholeheartedly support British parliamentary democracy. But this is an issue which demands generational sensitivity, and we will remind older generations that there will be a time when our generation ages. We will soon confront the reality of what we have been left, and if we do not like it we will simply reverse it. If it is a soft Brexit, which represents nothing but a minor and ironic loss of sovereignty, then we will return to our seat at the table. If it is a hard Brexit, we will be so furious with the wanton destruction inflicted on us that we will knock down any and all of the barriers imposed between us and Europe.
Huge distraction from the real issues
As Calum sets out in his Message to Westminster, Britain does not have the time or energy to cope with the demands of Brexit. While hundreds of talented officials line the halls of the DExEU department, our country struggles to cope with the rising inequality and crippling social crises which demand its urgent attention.
Our country is plagued by several social and economic crises - crises which pushed some into voting leave in the first place. We need to fix an NHS which is spluttering from crisis to crisis, to fix the housing market, to give our public services the technological overhaul, investment, and money that they need. We need much better provision of non-university post-16 education. We need a program to deliver prosperity to the communities and towns left out from the prosperity of the last two decades. We need a program to counter pernicious regional inequality, with much better incentives for businesses to operate in more deprived areas. But we cannot realistically achieve this while Brexit diverts precious attention and resources away from the issues which really matter. 
For these reasons, OFOC believes we need a People's Vote on the final Brexit deal. OFOC respects the result of the referendum in 2016. But democracy did not stop two years ago. Since then, new facts have emerged which demand a reevaluation of whether or not the Brexit Britain voted for in 2016 is the one they are going to get. Mayhem on the Irish border, companies and talented Europeans leaving, and a poor, isolated, Britain emerging. Nobody voted to make our country poorer and less secure than before. And so when the government's deal returns to Parliament in the Autumn, the only people capable of deciding whether or not that deal is good enough for that country is the people.
Lara Spirit, Femi Oluwole, Will Dry, and Calum Millbank-Murphy - Co-Founders of Our Future, Our Choice
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30/08/2018

Neneh Cherry: "Broken Politics"


A message from Neneh Cherry!
New album is ready:


So excited to announce that my new album Broken Politics made together with Four Tet is out Oct 19th. The second single 'Shot Gun Shack' is also out now.

Broken Politics is about these extraordinary times we live in. Telling the stories of what people everywhere endure, because we are left misheard, misunderstood, and disillusioned. It is about feeling broken, disappointed, and sad, but having perseverance. It's a fight against the extinction of free thought and spirit. 
Thank you to my husband Cameron Mcvey and old friend Karl Berger and 3D Massive Attack whose collaborations are a huge part of the album....
Recently I found out that a shotgun shack is an apartment where you can shoot from one end to the other. Gun disaster and its wasted lives are a modern-day tragedy. Inner city communities where living past 25 is a miracle, and I had to talk about that. Bring some humanity back into this crazy world. 

Neneh x


Neneh Cherry - Shot Gun Shack (Official Audio)






Shot Gun Shack is out now. Listen here: https://NenehCherry.lnk.to/shotgunsha... Taken from the new album ‘Broken Politics’. Pre-order here: https://NenehCherry.lnk.to/brokenpoli... Produced by Four Tet Art by Wolfgang Tillmans Neneh Cherry Live: http://bit.ly/NenehCherryLive 06/09/18 Stockholm 11/09/18 Ramsgate SOLD OUT 12/09/18 London SOLD OUT 26/09/18 Paris SOLD OUT 14/02/19 London Follow Neneh Cherry: Instagram: https://NenehCherry.lnk.to/InstagramYD Facebook: https://NenehCherry.lnk.to/FacebookYD Twitter: https://NenehCherry.lnk.to/TwitterYD
Lyrics:
Just fun and games took my name in vain Nothing is the same Just another day now fun and playgrounds bend the rules now know the rules now play the rules now it's institutional resolutions lack of direction intersections Pick up a gun you know you gonna use it Know that gun its gonna get loaded say my name before you pull it Too late you know just took that bullet Looking front to back through the shot gun shack You reside too slow to run fast run fast Catching up with you too slow to move it's gonna get you the playground rules You can't cry now Don't even try nowhere you can turn you can't even run away 2 can cry now don't even try to ride you can hide now you can even turn away the shot gun living in a shot gun shack in the back living in a shot gun shack in the back living with a shotgun living in a shot gun shack living in a shot gun shack living in the back living with a shot gun living with a gun living with your back to the wall Pick up a gun you know you gonna use it Know that gun its gonna get loaded say my name before you pull it Too late you know just took that bullet You can't cry now Don't even try nowhere you can turn you can't even run away 2 can cry now don't even try to ride you can hide now you can even turn away You can't cry now Don't even try nowhere you can turn you can't even run away 2 can cry now don't even try to ride you can hide now you can even turn away


29/08/2018

DAU: The Berlin wall and a new film project on Nobel-prize winning Soviet physicist, Lev Landau


Big news from Berlin! And update above and below...



Artists to Resurrect Berlin Wall for Epic Film-Art Installation


More details have been released of the Berlin Wall set to be ‘rebuilt’ as part of an epic film-art installation set in the German capital, which looks to trigger debate around issues of surveillance, co-existence and nationalism. Led by Russian filmmaker Ilya Khrzhanovsky, the experience will seek to create a ‘city within a city’ – it will include the premiere of Khrzhanovsky’s mysterious DAU film project, and has also signed up performance icon Marina Abramović, street artist Banksy and the band Massive Attack to take part.

Organizers say that if they are granted the final go-ahead from local authorities, they will install 900 concrete slabs in the city’s central Unter den Linden boulevard to create the immersive environment. Complete with its own entrance ‘visas’, the time-capsule installation will open on 12 October, and then be symbolically torn down on 9 November – marking the anniversary of the Wall’s fall in 1989.

The temporary resurrection of the Berlin Wall will be hosted by arts festival Berliner Festspiele. Although organizers have variously described the project as ‘a special experiential space’, a ‘historical echo chamber’, and ‘the impression of a journey in a foreign country’, they have been keen to stress that they are aware of its sensitivity. Festival director Thomas Oberender said that the experience would not be ‘a Disney GDR’ but instead ‘a mixture of social experiment, artistic experiment and […] an impressive form of world-building.’

Nevertheless, the project is not without its detractors, who have called it out as disrespectful. Green party politician Sabina Bangert told Tagesspiegel Daily: ‘Out of respect for the victims who really experienced such situations, we should step away from this.’ However the country’s minister of culture Monika Gruetters has said that she is ‘absolutely convinced this will be a world event’.
Khrzhanovsky has gained a cultish following for his mysterious DAU project (2005–ongoing), the bulk of which was recorded on a specially made set in the city of Kharkov, Ukraine between 2009 and 20011. The filmmaker recreated a Stalinist society, with participants spending two years in an artificial city – 14 children are said to have been conceived on set, which was eventually destroyed by neo-Nazis hired by the director. Hundreds of hours of footage were collected, but it has not yet been screened – the results are set to be shown for the first time as part of the Berlin installation. You can view the trailer here.

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Published on August 29 on Twitter:



Russia film-maker Ilya Khrzhanovsky teams up with Brian Eno, Marina Abramovic and Massive Attack for a project called DAU

Berlin to get replica wall with visa controls in giant art installation on Soviet era   Russia film-maker Ilya Khrzhanovsky teams up with Brian Eno, Marina Abramovic, Massive Attack for project called DAU





The centre of Berlin, already a vast building site, will soon host a new construction that few would want to see back for good. The Russian-born film-maker and artist Ilya Khrzhanovsky and the Berliner Festspiele are resurrecting the Berlin Wall.
For four weeks this autumn, visitors to a pocket of central Berlin will need to buy a visa and pass through controls in order to enter an enclosed pedestrianised zone surrounded by a replica of the Berlin Wall—29 years after the original wall fell. The organisers promise “a special experiential space” and “historical echo chambers” in an area flanked by the State Opera House, Bertelsmann’s headquarters, Unter den Linden and a canal. 
Visitors will be required to exchange their mobile phones for a special device that will give an “individually tailored journey” through the enclosed zone, which will be open 24 hours a day, a statement from Berliner Festspiele says. Normal life will continue inside, though streets, lamps and signposts will “give the impression of a journey in a foreign country.”
Working with prominent partners such as Brian Eno, Marina Abramovic and Massive Attack, Khrzhanovsky and his team have produced 13 feature films and a number of film series from more than 700 hours of film shot over three years. These films will be shown in Berlin, under the title Freedom, “as an encounter with another reality created by a giant installation” from 12 October. Performances with Abramovic and Carsten Höller as well as concerts with the Greek-Russian composer Teodor Currentzis will be offered on an individual basis via the special device to guests. The replica of the wall will be destroyed “in spectacular style” at the end of the work on November 9, the 29th anniversary of the fall of the original.
After Berlin, the films will be screened in Paris as Fraternity from 23 November and in London as Equality in 2019. They are the result of an experiment that began in 2009, when 400 people, described as simple street-sweepers, waitresses, families, famous artists and Nobel prize-winners, travelled back in time to the Soviet Union and lived isolated from the modern world for two years at “The Institute,” Khrzhanovsky’s secret space in the Ukrainian city of Kharkiv. 

Freedom will be show in Berlin from 12 October 
Their journey crossed three decades of Soviet history and ended in 1968—or 2011, in real time. None of the films produced from this experience was scripted, but life in the Institute was turned into film, the press statement explains. 
The project in all three cities is supported by the London-based Phenomen Trust, founded by the Russian businessman Serguei Adoniev.

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More in this video:


GRANDEST FILM EXPERIMENT: DAU Ilya Khrzhanovsky





Alina Simone reports on the secretive film production DAU for PRI Worldwide. In July of 2011, my dad, Alexander Vilenkin, called me. He said he was returning to Kharkov, Ukraine, the city my family left as political refugees almost 40 years ago, and he was leaving in two days. And that wasn’t even the weird part. He was going back in time, to a country that no longer exists, to play a role in what might just be the grandest experiment in film history. The film, Dau, is Ilya Khrzhanovsky’s epic biopic about the Nobel-prize winning Soviet physicist, Lev Landau. It may be the strangest, most ambitious movie you’ve never seen. It was filmed for five continuous years in a built-to-scale working model of a 1950s Soviet scientific institute... The Institute is the brainchild of the 37-year-old enfant terrible director, Ilya Khrzhanovsky, an unruly-mopped, bespectacled, anarchic and flamboyantly imperious scion of a film family, who has so far managed to convince enough European investors to bankroll his brutal and baroque movie project/human experiment that has been in the making since 2006.


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"Massive lecture"!


Je viens de découvrir ce commentaire sur mon livre, publié très récemment sur le site d'Amazon.fr.
Découvert complètement par hasard, en cherchant un autre livre...

Cette personne a tout compris !
Merci.




Par Stefy

le 26 juillet 2018



Voilà un livre passionnant et exemplaire à plus d'un titre. Mélissa Chemam retrace, avec son "En Dehors De La Zone De Confort", le parcours incroyable du collectif Massive Attack. Collectif issu d'un autre collectif, le Wild Bunch, pas des musiciens à la base. La scratching des platines, le sample et le graff les avaient réunis et ils se sont mis à croire en leurs propres créations.

Un collectif aussi qui ne cesse de multiplier les collaborations avec des artistes aussi divers que Horace Andy et Elizabeth Fraser pour continuer, toujours, d'avancer et de se renouveler. Un collectif, certes, totalement ouvert et à géométrie variable, qui compta le torturé Tricky comme membre à ses tous débuts, mais un leader obsessionnel émerge de cette nébuleuse, le surnommé 3D. Graffeur à l'origine, il va devenir un artiste touche-à-tout à la fois inventif et perfectionniste, en perpétuel besoin de quêtes et de changements aussi bien que d'évolution constante et de renouvellements et autres remises en questions. Il se révèle également très engagé politiquement, militant même, et associe bien volontiers la politique à son art. Mieux, il la revendique comme en faisant partie intégrante car étant essentiel dans l'art et dans le geste créatif. Le fait est que, dans le genre, 3D le fait un peu plus intelligemment que pas mal d'autres.

On va suivre dans ce livre, pas à pas, l'élaboration des différents albums du groupe, de ses clips vidéos et de sa progression dans l'organisation de concerts (au départ plus des DJ sets, proches dans la forme des sound-systems jamaïcains). Mais si Massive Attack demeure l'élément moteur du livre, sa figure centrale en est néanmoins la ville de Bristol en elle-même. Et c'est la très grande force de ce livre que d'élargir le débat sur des artistes comme Damien Hirst ou Banksy, star du street art. Ou encore d'évoquer dans les grandes largeurs d'autres groupes comme Portishead ou Roni Size and the Reprazent ou encore, bien sûr, Tricky. Bristol qui, dans le fond, pourrait bien expliquer le phénomène Massive Attack car cette ville portuaire métissée et essentiellement prolétarienne est bien différente, quasi à l'opposé, de la capitale londonienne froide et hautaine.

Le premier chapitre retrace l'histoire de la ville à travers les siècles et c'est bien sûr passionnant puisque des correspondances sont établies, des ponts sont lancés. Et dès ce premier chapitre, on est sûr d'une chose: Mélissa Chemam s'est hyper documentée et le reste du livre sera à l'avenant. Les sources sont citées, articles de presse, interviews radio ou de la presse écrite, livres d'histoire mais, également, elle ne s'est pas gênée à aller s'entretenir avec le maximum de personnes impliquées dans cette aventure dont les plus importants. Un travail soigné qui débouche sur une écriture sérieuse voire studieuse tant Chemam s'applique à nous narrer le mieux qu'elle peut cette histoire. Elle ne se met jamais en avant tant il est clair qu'elle s'efface pour donner la priorité aux informations distillées.

C'est donc tout un pan de la culture anglaise à partir des années 80, pas seulement musicalement, qui nous est dévoilé avec le plus de justesse et de précision possibles, voire de sensibilité. Notons tout de même l'incroyable importance du mouvement punk, libérateur, là aussi, pas seulement d'un point de vue musical. The Clash fait même partie des héros personnels de 3D. Comme quoi, tout est dans tout et tout peut arriver. Remarquable travail. De plus, livre bien relu car très très peu de coquilles. Ça devient suffisamment rare pour qu'on le signale aussi. Bravo donc également aux éditions Anne Carrière. Une jolie réussite.



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Ce livre a peu en France en octobre 2016.

Les détails ici:

Ma version anglaise paraîtra au début de l'année 2019...


28/08/2018

"Private War" / Private Peace


This trailer resonates very strongly...

As a journalist writing regularly on displacements, postcolonial issues and post-conflict, I deliberately chose to not report in war zones during battles.

I reported in Haiti during riots, what was nicknamed the "Global food crisis" in 2008, I later settled in East Africa and reported in Somalia and post-war Uganda.

I went to Mogadishu to report about a time of peace, I've lived in Central African Republic to work with an agency distributing food and document life in displaced people's camps, I travelled to Iraq, in Kurdistan, only to report on how helping the displaced people, taking pictures for a NGO.

I think it was always a conscious choice to privilege peace in my thoughts and not war... As our thoughts create our reality.

Yet, I've worked with many photographers who have been through very similar stories. On of my best friends reported in Lebanon, Gaza and Iraq during wars. And the truth is the first thing we need in order to obtain peace and justice...

Very moving trailer:


A Private War: OFFICIAL TRAILER - Coming Soon




Follow the film: Facebook.com/APrivateWar Twitter.com/APrivateWar Instagram.com/APrivateWar In a world where journalism is under attack, Marie Colvin (Academy Award nominee Rosamund Pike) is one of the most celebrated war correspondents of our time. Colvin is an utterly fearless and rebellious spirit, driven to the frontlines of conflicts across the globe to give voice to the voiceless, while constantly testing the limits between bravery and bravado. After being hit by a grenade in Sri Lanka, she wears a distinctive eye patch and is still as comfortable sipping martinis with London’s elite as she is confronting dictators. Colvin sacrifices loving relationships, and over time, her personal life starts to unravel as the trauma she’s witnessed takes its toll. Yet, her mission to show the true cost of war leads her -- along with renowned war photographer Paul Conroy (Jamie Dornan) -- to embark on the most dangerous assignment of their lives in the besieged Syrian city of Homs. Based on the extraordinary life of Marie Colvin, A PRIVATE WAR is brought to the screen by Academy Award nominee and critically acclaimed documentary filmmaker Matthew Heineman in his pulse-pounding narrative feature debut

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Read more from USA Today:


Exclusive: Rosamund Pike fights 'A Private War' in first trailer for Oscar hopeful

When Rosamund Pike signed on early last year to "A Private War," an upcoming biopic of tenacious war correspondent Marie Colvin, she couldn't have imagined how much it'd resonate in the current climate. 

"I didn't realize how timely it would be, with journalists under attack and truthful reporting suddenly called into question," Pike says. "I feel that there's no better moment to be telling the story of a journalist who literally put herself on the line to give a voice to people who didn't have a voice themselves."

A Private War" (in theaters Nov. 2 in New York and Los Angeles, expanding nationwide Nov. 16) traces the three-decade-long career of Colvin, an American reporter for British newspaper The Sunday Times who was killed on assignment in Syria in 2012 at age 56. The film's trailer and poster, as well as a handful of new images, are exclusively premiering on usatoday.com. 

Co-starring Jamie Dornan and Stanley Tucci, the drama follows Colvin into some of the most dangerous regions of the Middle East, covering conflicts in Afghanistan and Iraq, and going toe-to-toe with Libyan leader Moammar Gadhafi in an interview. It also shows her struggles re-acclimating to civilian life, using alcohol and her wicked sense of humor to stave off the nightmares of what she'd seen in war zones. 

"She’d say that at parties in London, she didn’t want to walk across the room and have people say, 'Oh, here come stories about Beirut again,' " says Pike, who is back in the awards race this year after her Oscar-nominated turn in 2014's "Gone Girl." "She wanted for people to feel that there was a humor and spirit to her; that just because you’ve seen suffering, doesn’t mean you live suffering at every moment. But of course, she was haunted forever by everything she saw."

To prepare for the role, Pike, 39, spoke to many of Colvin's friends, including photographer Paul Conroy, who is played by Dornan in the movie and was on set in Jordan throughout shooting. She also pored over footage of Colvin, trying to replicate her physicality and voice.

Given director Matthew Heineman's background in documentaries such as "Cartel Land" and "City of Ghosts," "I wanted to give him a version of the character that he could film at any point he chose, so if we were traveling in a car somewhere, he could just turn his camera on and find Marie," Pike says. 

The biggest challenge was playing blind in her left eye, which Colvin lost after she was hit by shrapnel in Sri Lanka in 2001. Colvin donned an eye patch from then on, which Pike opted to wear even when she wasn't filming. 

"I thought it was important for me to experience the world as it really was with the eye patch, so I'd walk through the streets and go out for dinner with it on," Pike says. "Living with the eye patch was very disconcerting, actually. You do feel very vulnerable to the traffic, crossing roads and stuff coming from the side. Also, people react to you with it: children with fear or laughter or surprise. Everybody stares." 

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27/08/2018

Indian Summer in England: Africa in London with 1:54


1-54 London returns for its sixth edition at Somerset House between the 4-7 October 2018.

2018 EDITION

The fair will welcome 43 leading galleries from countries across Africa, Europe, the Middle East and North America, presenting over 130 artists from Africa and its diaspora. This edition will be accompanied by a compelling series of Special Projects and FORUM, the fair’s talks programme, curated for the first time by writer and curator Ekow Eshun.

Ibrahim El-Salahi, Meditation Tree, 2018, wood. Courtesy Vigo Gallery


Athi-Patra Ruga, The Night of the Long Knives I, 2013. Courtesy WHATIFTHEWORLD


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1:54 London 2017 | Installation Day



1:54 London 2017 | Closing words by Touria El Glaoui and Pascale Marthine Tayou




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Returning for its sixth London edition, @154artfair foregrounds a diverse selection of work by contemporary African practitioners. @SomersetHouse, 4-7 October http://aestheti.cc/3absq 

Indian Summer in Britain


The list continues!

Looking forward to seeing this film!!!
Music, films, politics!


Matangi/Maya/MIA 18 (PS)




Official Trailer





Drawn from a never-before-seen cache of personal footage spanning decades, this is an intimate, Sundance Award-winning portrait of the Sri Lankan artist and musician who continues to shatter conventions.
A startlingly personal profile of the critically acclaimed artist, director Steve Loveridge chronicles her remarkable journey from refugee immigrant to pop star. She began as Matangi. Daughter of the founder of Sri Lanka’s armed Tamil resistance, she hid from the government in the face of a vicious and bloody civil war. When her family fled to the UK, she became Maya, a precocious and creative immigrant teenager in London. Finally, the world met her as M.I.A. when she emerged on the global stage, having created a mashup, cut-and-paste identity that pulled from every corner of her journey along the way; a sonic sketchbook that blended Tamil politics, art school punk, hip-hop beats and the unwavering, ultra-confident voice of a burgeoning multicultural youth. Never one to compromise on her vision, Maya kept her camera rolling throughout.
MATANGI / MAYA / M.I.A. provides unparalleled, intimate access to the artist in her battles with the music industry and mainstream media as her success and fame explodes, becoming one of the most recognisable, outspoken and provocative voices in music today.



London Calling: 62nd BFI London Film Festival


The 62nd BFI London Film Festival will take place 10-21 October 2018 at cinemas across London. 

The full programme will be revealed on 30 August 2018. 


Trailer:

The 62nd BFI London Film Festival is coming soon! | BFI








BFI Film Fund trailer: the hottest National Lottery–funded films of 2018 | BFI






To enjoy priority booking, become a BFI Member by visiting https://www.bfi.org.uk



An Autumn Between Paris and London


Summer is entering its last phase... But luckily we should have a beautiful Indian summer this year.
I'll be back in England soon and spending most of the season there. Between Bristol and London.

A few events on the way, firstly:

Frieze London

Regent’s Park

4–7 October 2018


Frieze has announced the participants for the 2018 editions of Frieze London and Frieze Masters, both of which run from October 5 to 7 in the English capital’s Regent Park. Some 160 galleries will bring their wares to the Frieze London fair, with some 130 more showing at Frieze Masters.




Frieze London 2018 

Announcing New Curators and Innovative Programming

Press release

The 16th edition of Frieze London takes place from 5–7 October, with two Preview Days on Wednesday 3 October and Thursday 4 October
A new themed section, Social Work, will be selected by a panel of leading women art historians and critics

Frieze London 2018 will showcase the best of international contemporary art, with a discerning selection of around 160 galleries presenting their most forward-thinking artists and imaginative presentations. Opening for the rst time with a two-day Preview, Frieze London coincides with Frieze Sculpture and Frieze Masters in The Regent’s Park, together forming the most signi cant week in London’s cultural calendar. Global lead partner Deutsche Bank supports Frieze London for the 15th consecutive year, continuing a shared commitment to discovery and artistic excellence.

New collaborations with international curators, institutions and galleries will respond to contemporary issues – from the lack of visibility of women in the marketplace to hidden systems of communication and control – and create an exceptional environment for creativity and discovery.

New Themed Section

Following the success of Sex Work: Radical Art & Feminist Politics at Frieze London 2017, which focussed on artists from the 1960s and ‘70s, the fair this year will feature Social Work, celebrating artists who challenged the male-dominated art market of the 1980s. A panel of 11 women art historians and critics from UK institutions, including Iwona Blazwick, Katrina Brown, Louisa Buck, Amira Gad, Jennifer Higgie, Melanie Keen, Polly Staple, Sally Tallant, Fatos Üstek and Lydia Yee, will select a group of artists who challenged the status quo, embracing an activist approach in their art making and confronting social and cultural norms. The section will include both well-known and overlooked female artists, who address questions of identity, labour and visibility in their work. The participating artists and galleries will be announced in the coming months. 


New Curators

Diana Campbell Betancourt
joins the fair to oversee Frieze Projects — programming beyond the gallery booths, including Frieze Live installations and performances, and new Frieze Artist Award and Frieze Film commissions. Artistic Director of Dhaka-based Samdani Art Foundation and Chief Curator of the Dhaka Art Summit, Campbell Betancourt also managed the Bellas Artes Projects programme in the Philippines, overseeing critically acclaimed exhibitions, including Bruce Conner’s first major solo exhibition in Asia. 


In addition, Andrew Bonacina (Chief Curator, The Hepworth Wake eld) and Laura McLean-Ferris (Curator, Swiss Institute, New York) will advise ambitious shows by emerging galleries from across the world in Focus. And Matthew McLean (Senior Editor, Frieze Studios) and Lydia Yee (Chief Curator, Whitechapel Gallery, London) will co-programme Frieze Talks.


The World’s Most Signi can't Galleries

Frieze London welcomes the return of world-class galleries including international galleries who have partipated since the fair’s inception, such as Galerie Gisela Capitain, Gagosian, Greene Naftali, Hauser & Wirth, Lisson Gallery, Galerie Thaddaeus Ropac, Salon 94, Sprüth Magers, White Cube and David Zwirner, among others; alongside also returning Gavin Brown’s enterprise, Marian Goodman Gallery, kurimanzutto, Matthew Marks Gallery, kamel mennour, Pace Gallery, Esther Schipper, Galeria Luisa Strina and The Box; and major newcomers including, among others, Xavier Hufkens, Galerie Lelong & Co. and Galleri Nicolai Wallner.


Solo and Themed Presentations by International Artists

Galleries throughout the fair will showcase their most exciting artists, including debut exhibitions and exceptionally ambitious new projects. Highlights in the main section include:
  • A solo by Paris-based artist Tatiana Trouvé with kamel mennour (Paris);
  • A solo by Liu Wei, presented by White Cube (London)
  • A solo by Rana Begum with Kate MacGarry (London) – coinciding with
    the artist’s Frieze Sculpture presentation;
  • Stevenson’s (Cape Town) two-artist presentation featuring Viviane
    Sassen, following her solo exhibition at The Hepworth Wake eld and
    Moshekwa Langa, featured in the 13th Dakar Biennale (2018);
  • Marian Goodman’s debut presentations of John Baldessari and Kemang
    Wa Lehulere, coinciding with the latter’s Frieze Week exhibition at the
    gallery’s London space;
  • Celebrating the gallery’s tenth anniversary, Pilar Corrias (London) will
    present an all-women stand of leading artists including Sophie von Hellermann, Cui Jie, Helen Johnson, Koo Jeong A, Tala Madani, Sabine Moritz, Christina Quarles, Mary Ramsden and Tschabalala Self. 


  1. Focus section: Emerging Talents

    Bringing together 33 galleries representing young art scenes from Cape Town to Los Angeles, Focus features galleries aged 12 years or younger. Advised for the rst time by Andrew Bonacina (Chief Curator at The Hepworth Wake eld) in collaboration with Laura McLean-Ferris (Curator at Swiss Institute, New York), highlights include, among many others: 

  • Edouard Malingue Gallery (Hong Kong) will present an immersive installation by celebrated emerging Hong Kong artist Wong Ping, whose animations and video works were a highlight of the New Museum Triennial in January;
  • Arcadia Missa (London) will present an immersive exhibition of new paintings and sculpture by Penny Goring, known for her vibrant yet melancholic visual world;
  • Jhaveri Contemporary (Mumbai) will show ink drawings, knitted jumpers, sculptures and video by Hardeep Pandhal, who uses humour to interrogate perceptions of British Asian identity;
  • Galerie Emanuel Layr will present a two-artist show by Anna-Sophie Berger and Cécile B. Evans, exploring how we create meaning through the stuff we use, the things we wear and the places we live;
  • 47 Canal will showcase Bronx-born photographer Elle Pérez, with works exploring sexuality, queerness and the cultural identity of minorities in contemporary America; and
  • blank (Cape Town) will present the work of three artists from South Africa: Bronwyn Katz, Donna Kukama, and Cinga Samson exploring the politics of place, history and memory. 

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More soon!