Art in Regent's Park

Frieze London opens for its tenth edition

The Frieze Art Fair returns from New York to London this Thursday, bringing together 175 of the world’s most innovative contemporary art galleries in a bespoke temporary structure erected in Regent’s Park. Exhibitors will come from 35 countries including Argentina, China, Columbia, Hungary, India, Korea and South Africa. Furthermore, this year the Fair includes two exciting (if a little overdue) new sections: Focus and Frieze Masters.

Focus is only open to galleries established after 2001, each of whom are invited to curate up to three artists’ works at the Fair, while Frieze Masters, which will run in parallel with the main festival and require a separate ticket, will present “a contemporary perspective on historical art”. That is to say, for the first time, Frieze will sell old as well as new art.

Over 90 galleries from territories including Spain, Lebanon, Turkey and Brazil will exhibit works “ranging from the ancient era and old masters through to art of the 20th century”, a decision praised by the Guardian’s art critic Jonathan Jones. “Lo and behold,” he writes, “the art world has discovered that time is not flat. We do not occupy an eternal present. There were artists before we were born, and there will be artists after we die … New art is not an orphan: it is the child of history. Frieze Masters will make it easier for everyone to see that.”

Frieze curator Sarah McCrory has commissioned five site-specific pieces for this year’s Fair. One, a structure which explores the “use-value” of art by providing a forum for artists who produce food, chaotic dining events, performances and talks has been created by Lake District-based Grizedale Arts and the Yangjiang Group collection. Another will see a section of Regent’s Park smouldering as a field of incense burns to suggest contemplation and reflection (Joanna Rajkowska), and a recreated crime drama scene by Asli Çavuşoğlu will interrogate the parallels between murder mystery production and the destructive decisions taken when making art.

The Fair will also boast films, talks and a Sculpture Park curated by Clare Lilley, Director of Programme at Yorkshire Sculpture Park, alongside gourmet food, workshops and a Family Space. Although the primary function of the Fair is to sell the works exhibited, most visitors will attend as spectators rather than prospective buyers. In fact, Frieze stopped publishing sales figures in 2006, for this and other reasons. Tickets are limited “to ensure the best experience for all visitors”, but for those not lucky enough to get a ticket, the Sculpture Park is open free to the public.

Frieze London will be in Regent’s Park from 11-14 October.

"The Maids" by Paula Rego, a Frieze Master. Image: Frieze.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit