Christian Andersen, Frederiksholms Kanal 28A, 1220 Copenhagen K, +45 2537 4101, email@example.com
For Frieze London 2022 Christian Andersen presents a group presentation from the gallery program with Patricia L. Boyd, Julia Haller, Sidsel Meineche Hansen, Hans-Christian Lotz, and Coco Young.
The series Wall Pieces (2017-) by Patricia L. Boyd are negative casts made with a mixture that includes recycled cooking grease collected from restaurants. When first exhibited, each sculpture is embedded into the wall of the gallery it is shown in. After the initial exhibition, the work is extracted along with the surrounding section of wall in which it was enclosed, which thereafter remains permanently attached to the cast.
Julia Haller presents new works from her recent series of paintings on cardboard. Applied with household paint and acrylic on generic cardboard the works highlight Haller’s interest in the means of image production through a confrontation of classical painterly approaches. By grounding her works with household paint the cardboard emulates the very wall it hangs on, consequently making themselves invisible as artworks. Haller’s juxtaposition of mixed techniques conversely positions the work in a fluid state between a critical parody of artistic craft and art as commodity, and a sincere conversation with the history of painting.
Three works by Sidsel Meineche Hansen is presented at the fair. Two new sculptural works in bronze, Scrotum Bell (2022), a pair of crotal bells cast hollow each with a pebble inside, and Provider (2022), a set of letters made from lost wax casting. Also presented is home vs owner 3 (£250.000) (2022), an NFT of four real estate photographs of Meineche Hansen’s former London rental home. The photographs were commissioned by Meineche Hansen's landlords for the flat's online sales listing. £250.000 is the sales price of the former rental home and the value of the artwork.
A Tarski World Redux (2022) by Hans-Christian Lotz is the adapted version of A Tarski World (2021), a fully functioning sauna with accompanying monitors and slideshows that Lotz presented at New Toni, Berlin in 2021. The work takes its title from polish-american mathematician Alfred Tarski, or more accurately from a 1990s educational computer program developed to introduce Tarski’s semantics of predicate logic. In it, a clearly defined space and small number of objects render it possible to make precise statements about their relationships.
The original work is now destroyed and has been adapted into a more symbolic version of itself, consisting of a free-standing wooden object resembling sauna benches as well as a sauna oven and a single video work. The video presents slides from moving-image material by Australian software developer Atlassian on the topic of “Agile” software development, a managerial strategy that focuses on a non-hierarchical and flexible work regime and is today the dominant paradigm of IT. The work sketches out a world that is defined by a space of luxury and energy-consumption (the sauna) and an ideological framework (Agile) that is underpinning most of our informational horizon.
Two new figurative oil paintings are presented by Coco Young. The two large works depict landscapes with soft, airy brushstrokes through a hallucinatory scope. Young captures the motifs of an imagined Pont Neuf (2022) and a saturated Cerulean Tree (2022) as weightless architecture in ambiguous spaces both night and day. Consequently, Young dissolves the structural materiality of the objects to merge them with their surrounding environment and make them float in space and time. Although without physical precedents in the real world, Young’s motifs capture something familiar – universal dreamscapes or famed art historical references – that succeeds in establishing both feelings of close intimacy and vast yearning.