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Back to a rainy and cold London but with so many new exhibitions to see, I barely noticed the weather.
Ziba Ardalan welcomed me at Parasol Unit and took me round the skilled paintings of Katy Moran. She had managed to fill every corner so majestically with her small detailed paintings.
We had lent two paintings from the Collection.
Josh Lilley had an amazing show by Vicky Wright. The layering and detail had a sense of accident rather than purposeful intent. Her mark-making is so gestural.
Wilhelm Sasnal had full billing at Sadie Coles except for these two very oversized bent nails by Urs Fischer.
These beautiful grasses rising up from nowhere were wonderful
but my favourite discovery was this view and a human eye.
Virginia Overton was opening on the same night at Mason’s Yard, White Cube. The artist had managed to encompass the whole gallery in the most effective way using the most simple of materials.
A big surprise was dropping into the new space of the De Pury’s on Grafton Street and seeing an older Polish artist born in 1928. It was quite apparent that somewhere down the line Wojciech Fangor had influenced many artists.
I absolutely loved loved Joseph Kosuth’s work at Sprueth Magers. It was very brave to show so many neon works together and instead of causing total chaos they really worked and managed to each hold their own.
The reflection in the window was as beautiful as seeing it in the flesh.
It was an absolute joy to see the work of Graham Little at Alison Jacques. It just gave me such pleasure to see such good art. Some collectors like to dump artists like this because they are not producing enough work to create a big market and force their prices up but this really isn’t my approach and I’ll stay loyal and follow to the end.
Then a big reprieve as the Zab Team are all let out for a day on the farm; Hauser & Wirth Somerset. It was an amazing experience and team there were wonderful. We were allowed to wonder through their fantastic guest house and discover every corner.
A Pipilotti Rist chandelier, bringing back to life found objects from an old dump on the hill.
Then Pipilotti’s amazing film, made during her residency in Somerset. We all snuggled deep into the sheepskins and allowed ourselves to be enveloped.
Lunch was in their fabulous restaurant; Roth Bar and Grill, a name taken from Dieter Roth’s amazing bar in their New York space.
Stuffed to the brim, the team took a walk outside to check out what appeared to be a rather weird post-apocalyptic countryside.
I skipped the apocalypse and stuck to Subodh Gupta’s bucket. Then just before leaving we grabbed a team photo as a reminder of a great day.
In the evening we finished the day at Hauser & Wirth, London where Michael Walker, who had hosted all day, had curated an amazing Martin Creed show. Martin Creed seemed very happy.
The next day was another day of openings and I sped along to the Arts Club to see Gregor Muir, James Lingwood, Polly Staple, Ossian Ward and Emma Dexter all informing us of the best upcoming shows in London.
Ossian was showing us all the Holy Bible, an unusual version.
A big congratulations to Rashid Johnson, (definitely a Hauser & Wirth week) he managed to create a strong show with a hint of irony whilst addressing family values in the USA.
His work is moving in an interesting direction. Perhaps a touch of Basquiat?
The Invites programme at the gallery kicked off with Athena Papadopoulos who has put together a really exciting and punchy presentation of painting and sculpture. Athena lingers amongst ‘Kevorka and Finer than Frog Hair’.
Meanwhile back at HQ we were beginning our wonderful Master Classes with Mark Titchner, Elizabeth Price, Marvin Gaye Chetwynd and Matthew Darbyshire all tutoring nominated artists. Led by Doug Fishbone the artists get the chance to participate in week long intensive tutorials.
Very happy with our Testing Ground this year, the MFA students from Goldsmiths and Cass had managed to curate the collection in an interesting direction. Entitled ‘Partial Presence,’ it really feels that the students have chosen, with care and consideration artists who respond much more to their thought processes than the ‘art market.’ I love this Gillian Wearing mask.
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