Courtesy of the artist

Frieze New York

In their own words: ten Frieze New York artists tell us about their works for the Frame section

Co-organised by Andrew Bonacina of the Hepworth Wakefield in the UK and Laura McLean-Ferris from the Swiss Institute, New York, the fair’s Frame sector gives emerging galleries (eight years or younger) space for solo-artist displays. We asked the artists to describe their work at the fair.

Julie Béna, showing with Galerie Joseph Tang, Paris. "You will meet some new and old characters in my work at the fair: three sculptures, a corn, a waiting satellite, and three eyes standing! (Do not forget the feet and the drawer.) They are awaiting something, glancing and staring at themselves and others. Three poems will accompany them, lending them their voices. Lines, concomitant, entangled, thirsty of your thought: the embroideries and laces, with a spider and a snail, a jester!  (Do not forget the pierced tits and the bird/shoe or the shoe/bird.)"
Margot Montigny

Julie Béna, showing with Galerie Joseph Tang, Paris. "You will meet some new and old characters in my work at the fair: three sculptures, a corn, a waiting satellite, and three eyes standing! (Do not forget the feet and the drawer.) They are awaiting something, glancing and staring at themselves and others. Three poems will accompany them, lending them their voices. Lines, concomitant, entangled, thirsty of your thought: the embroideries and laces, with a spider and a snail, a jester! (Do not forget the pierced tits and the bird/shoe or the shoe/bird.)"

Jordan Nasser showing with Anat Egbi, Los Angeles. "My work focuses on questions of cultural heritage, authenticity, nationality, sovereignty and displacement. My presentation includes a suite of hand-embroidered landscapes, made using traditional patterns drawn from pillows I bought from women in the West Bank, alongside works I made in collaboration with the same women."
Courtesy of Ricardo Nelson

Jordan Nasser, showing with Anat Egbi, Los Angeles. "My work focuses on questions of cultural heritage, authenticity, nationality, sovereignty and displacement. My presentation includes a suite of hand-embroidered landscapes, made using traditional patterns drawn from pillows I bought from women in the West Bank, alongside works I made in collaboration with the same women."

Gracie DeVito, showing with Tif Sigfrids, Los Angeles. "I think of my works as backdrops or sets for actors in an existential play. Even if the figures could move, the action would be minimal—pointing, posing, waiting.  The vastness and layering of the landscape is what matters, more than the identity of the figures. They are statues or placeholders, representing various ideas at different times. Their ambiguity allows for drift, like watching a play where one’s mind wanders, dreams, and then comes back to reality."
Courtesy of the gallery and the artist

Gracie DeVito, showing with Tif Sigfrids, Los Angeles. "I think of my works as backdrops or sets for actors in an existential play. Even if the figures could move, the action would be minimal—pointing, posing, waiting. The vastness and layering of the landscape is what matters, more than the identity of the figures. They are statues or placeholders, representing various ideas at different times. Their ambiguity allows for drift, like watching a play where one’s mind wanders, dreams, and then comes back to reality."

Ana Mazzei, showing with Galeria Jaqueline Martins, São Paulo. "I’m presenting some recent paintings, banners and wooden sculptural chairs that people can use. I hope that inviting audience intervention will bring people closer to the work. The pieces highlight the formal, semantic, gestural and symbolic stories that support pictorial compositions, dealing with the concept of representation from an art historical lens."
Courtesy of Galerie Jaqueline Martins and the artist

Ana Mazzei, showing with Galeria Jaqueline Martins, São Paulo. "I’m presenting some recent paintings, banners and wooden sculptural chairs that people can use. I hope that inviting audience intervention will bring people closer to the work. The pieces highlight the formal, semantic, gestural and symbolic stories that support pictorial compositions, dealing with the concept of representation from an art historical lens."

Magali Lara, showing with Walden, Buenos Aires. "I’m showing a variety of works from from the 1970s to 1990s, which has been an interesting process for me to show them as one piece. It’s kind of weird, it’s like a portrait of yourself where all of those different parts simultaneously tell the same story. I have always been very influenced by language, ever since I discovered American poetry, women like Denise Levertov and Sylvia Plath. They treated language in a different way. The confessional served as a structure to articulate the experience of a female body, a voice describing an inner experience that was not yet allowed to be named. This intersection is where I stand as an artist. "
courtesy of Walden Gallery and Javier Hinojosa

Magali Lara, showing with Walden, Buenos Aires. "I’m showing a variety of works from from the 1970s to 1990s, which has been an interesting process for me to show them as one piece. It’s kind of weird, it’s like a portrait of yourself where all of those different parts simultaneously tell the same story. I have always been very influenced by language, ever since I discovered American poetry, women like Denise Levertov and Sylvia Plath. They treated language in a different way. The confessional served as a structure to articulate the experience of a female body, a voice describing an inner experience that was not yet allowed to be named. This intersection is where I stand as an artist. "

Tiril Hasselknippe, showing with Drei, Cologne. "My work is a forest of radio towers to be used to make contact with all that is other and othered, alien and terrestrial, to try to build a different kind of societal structure or community together. The sound broadcast is organ music from different locations; it is a conversation between the radio towers about grief, hope and coexistence."
Courtesy of the artist

Tiril Hasselknippe, showing with Drei, Cologne. "My work is a forest of radio towers to be used to make contact with all that is other and othered, alien and terrestrial, to try to build a different kind of societal structure or community together. The sound broadcast is organ music from different locations; it is a conversation between the radio towers about grief, hope and coexistence."

Jacqueline Kiyomi Gordon, showing with Empty Gallery, Hong Kong. "When asked to create a sound piece for Frieze New York, all I could imagine was how to escape the noise of the fair while still being seen. Everyone told me the only way was with headphones. But we don’t  just listen with our ears, we listen with our whole bodies. This piece involves large, sound-absorbing materials to soften the noise, and a four-channel sound sculpture that separates and uses the ambient noise of the fair, enabling you to navigate an alternative reality within the existing soundscape. "
Courtesy of SFMOMA, from the installation Inside You Is Me

Jacqueline Kiyomi Gordon, showing with Empty Gallery, Hong Kong. "When asked to create a sound piece for Frieze New York, all I could imagine was how to escape the noise of the fair while still being seen. Everyone told me the only way was with headphones. But we don’t just listen with our ears, we listen with our whole bodies. This piece involves large, sound-absorbing materials to soften the noise, and a four-channel sound sculpture that separates and uses the ambient noise of the fair, enabling you to navigate an alternative reality within the existing soundscape. "

Jorge de León, showing with Proyectos Ultravioleta, Guatemala City. "I’m showing a body of work that serves as a record of daily life in my city, executed through traditional miniature painting and simple drawings. The majority of images that I have translated to canvas are everyday occurrences taken from mass media, the tabloid press and social media. The drawings are personal reflections inspired by observation, reading and informal conversation."
Nora Pérez; Courtesy of the Artist and Proyectos Ultravioleta, Guatemala City

Jorge de León, showing with Proyectos Ultravioleta, Guatemala City. "I’m showing a body of work that serves as a record of daily life in my city, executed through traditional miniature painting and simple drawings. The majority of images that I have translated to canvas are everyday occurrences taken from mass media, the tabloid press and social media. The drawings are personal reflections inspired by observation, reading and informal conversation."

Tau Lewis, showing with Cooper Cole, Toronto. "I’m bringing a series of portraits that are also my friends and feel very real to me. The figures are physical manifestations of a deeply healing process. They are magical and unreal and unbelonging, and they help me work through collective and personal traumas. We are all excited to be here."
Courtesy of Cooper Cole Gallery

Tau Lewis, showing with Cooper Cole, Toronto. "I’m bringing a series of portraits that are also my friends and feel very real to me. The figures are physical manifestations of a deeply healing process. They are magical and unreal and unbelonging, and they help me work through collective and personal traumas. We are all excited to be here."

Rainer Ganahl, showing with Kai Matsumiya, New York. "As a theory junkie, inspired by Edward Said’s Representations of the Intellectual, I have been photographing seminars and lectures since 1995 and keep doing so. I just follow my interests and circumstances and keep learning. Learning, reading, discussing and strange teaching constitute the core of my art practice. For Frieze New York, I selected a series of exclusively female speakers [including the late art historian Linda Nochlin] photographed over the years."
Courtesy of the artist

Rainer Ganahl, showing with Kai Matsumiya, New York. "As a theory junkie, inspired by Edward Said’s Representations of the Intellectual, I have been photographing seminars and lectures since 1995 and keep doing so. I just follow my interests and circumstances and keep learning. Learning, reading, discussing and strange teaching constitute the core of my art practice. For Frieze New York, I selected a series of exclusively female speakers [including the late art historian Linda Nochlin] photographed over the years."

Appeared in Fair Dailies, Frieze New York 2018