Truth be told, I still kind of miss the penguins.
Benedikte Bjerre (@benedikte_bjerre),
‘The birds’, 2017.
Presented by palace enterprise (@palaceenterprise_cph), Frieze London 2024
They were something out of a Frieze Bingo card, under “booth that is obviously a gimmick” next to “art including mirror”. But now that I’m miles away from the great white tent of Regent’s Park, and back home in America, I look back at the toddling little inflatable penguins, a part of palace enterprises’ Focus booth with artist Benedikte Bjerre, and chuckle.
Jo Messer (@jomesser_)
'It’s only our last dinner if we stop eating', 2024, Oil on panel.
Presented by 56 Henry (@56henry.nyc), Frieze London 2024
Kiki Furlan (@kikifurlan)
'Living Rooms', 2024, wool, foam, wheels, metal, broomstick, wire
Presented by GIANNI MANHATTAN (@giannimanhattan), booth F20, Frieze London 2024
In years previous the penguins would have been one of the last things a fair visitor might see; in 2024, Frieze London’s decision to switch the placement of stalwarts of the art scene (e.g. the Perrotins, the Zwirners, and the Gagosians) with the younger galleries (and often artists) provided the fair with an energetic burst of ingenuity and excitement. Yes, this meant you might be greeted by the penguins, but it also meant introductions to 56 Henry’s display of bold works by Jo Messner, the fashion-forward insect -like sculptures of French artist Nils Alix–Tabeling at Public Gallery, and Kiki Furlan’s felt explorations in sculpture and 2-D knits at Gianni Manhattan. Each gallery has a distinctive vision reaching beyond the drudgery of the art fair’s typical monotony of endless painting. Focus’ section additionally is designed to show the breadth of work produced by one artist rather than a quick perfunctory display of a gallery’s program, allowing for a fuller understanding of an artist’s practice.
Nils Alix-Tabeling (@nilsalixtabeling)
'Candelabre, “Night Butterfly”', 2023 , steel, wood, silk, medicinal plants (st. john's wort, verbena, calendula), wool, pearls, copper wires, bees wax candles, goat intestine, artichoke. Presented by Public Gallery (@public.gallery), Stand F24, Frieze London 2024
Young British galleries received warm recognition in particular. Defining the East London gallery scene, galleries such as Rose Easton, South Parade, and Ginny on Fredrick showcased vibrant works, all by women.
Georgina Hill (@georginahill)
Maypole Procession, 2023,
newspaper and pigment on cardboard, nail colour wheel, clock mechanism, rotating motor, flowers, Presented by South Parade (@southparade_), Booth F4, Frieze London 2024
Charlotte Edey (@edey_)
1. Left:
'Words Get In Easily', 2024, Freshwater pearl, glass beads, tourmaline, onyx, obsidian, aventurine, white jade, silk, woven jacquard, soft pastel on sanded paper, wood beads, three panel sapele frame.
2. Center:
'The Tower', 2024
freshwater pearl, glass beads, tourmaline, onyx, obsidian, aventurine, white jade, silk, organza, woven jacquard, soft pastel on sanded paper, sapele panel frame
Presented by Ginny on Frederick (@ginnyonfrederick), Booth F3, Frieze London 2024
Ginny on Frederick has had a long relationship with artist Charlotte Edey, having also brought her work to NADA in 2023. Edey’s repertoire of pastel graphic drawings and bead and pearl-encrusted embroideries slotted neatly into wooden architectural niches are intended to permeate the space between interiority and exteriority. Further, her mastery of mixed-media is explored outside of her comfort zones by the two stained glass windows flanking the sides of the booth, creating a devotional, ecclesiastical feel to the viewer’s experience.
Charlotte Edey, exhibition:
'Framework', 2024 at Ginny on Frederick
Eva Gold was featured in Rose Easton’s booth. Gold, a sculptor, had several resin and fiberglass signs on display, emulating those one would find at a corner or off-license store, as well as four drawings featuring buildings on fire taken from the screen from four different films from the 20th and 21st centuries. A cheeky play on the requisite booth furniture, the large leather couch in the center of the booth was also a sculpture by Gold, blurring the line between set and reality, between truth, memory, and fiction. Female sculptors continued to reign supreme throughout Focus. Georgina Hill’s City Lights at South Parade’s booth addressed the ‘circuit boards’ of social interaction, transforming human connection and memory into architectural, electrified glass boxes.
Nat Faulkner
Artificial sun,
monochrome Chromogenic print,
2024
The increased visibility directly lead to honors and opportunities for galleries and artists alike. Photographer Nat Faulkner’s show-stopping booth at Brunette Colman won the artist the 2024 Camden Art Centre Emerging Artist Prize, awarding him solo exhibition at the Camden Arts Centre in 2025- a huge opportunity.
By placing younger galleries and talent at the forefront, Frieze has re-defined the interests of the market for new and seasoned collectors alike; Frieze directed our attention to what gets art insiders, (the curators, dealers, and tastemakers) the most excited, and thus, what we should be excited about as well. Putting Focus front and central, young talent was given the chance to shine without distraction - establishing a new vanguard. In choosing to champion both young artists and dealers, Frieze indicated that fair leadership have their fingers on the pulse of what both institutional minds and insiders believe will be the next generation of artists, and are willing to bet that collectors will take notice.
