Frieze Art Fair 2010: Highlights

We pick out the highlights on show in Regent’s Park this year.

Now in its eighth year, Frieze Art Fair 2010 features 173 contemporary art galleries showcasing over a thousand artists from 29 countries. Held in a giant tent in Regent's Park, London, from 14 to 17 October, Frieze Art Fair brings together under one roof internationally renowned and emerging galleries.

Frieze is accompanied by a curated programme of talks, commissioned artist projects, films and concerts. Take a look at some of the highlights ahead of the opening this Thursday.

Galleries

Edinburgh's Ingleby Gallery showcases elegant minimalist work by the Brazilian artist Iran do Espírito Santo, together with Callum Innes's large abstract black-and-white canvases.

Galerija Gregor Podnar from Berlin juxtaposes minute and large-scale sculptural works deploying unusual materials such as spotlights in the drawings of Goran Petercol and cardboard in Tobias Putrih's architectural containers.

Decks of cards make up the stunning Tower of Babel by Matt Johnson, one of two Los Angeles-based artists represented this year by Alison Jacques Gallery, London.

Warsaw's Raster gallery pairs digital and colour photographs by the Polish artists Rafal Bujnowski and Oskar Dawicki, whose Tree of Knowledge subverts and reinvents the biblical myth of earthly paradise.

David Zwirner, New York, contrasts Algerian-born Adel Abdessemed's striking black-and-white Ice Skates, made of hand-blown glass, with the American James Welling's inkjet prints, suffused with coloured light.

Frame

Inaugurated in 2009, this section of the fair is dedicated to galleries that have been around for less than six years.

Look out for the Indian gallery Experimenter, showing Live True Life or Die Trying (2009) by Naeem Mohaiemen (Bangladesh), an installation that juxtaposes text and photographs of Islamist and leftist demonstrations simultaneously taking place in Dhaka.

In a different vein, Simon Preston's New York gallery displays the delicate geometric forms of the Brazilian Carlos Bevilacqua's wood-and-rubber sculptures.

The Cartier Award 2010

Frozen, a site-specific installation by this year's winner, the British-Japanese artist Simon Fujiwara, imagines a lost city buried beneath Frieze Art Fair. Expect to stumble upon archaeological digs and artefacts scattered across the site.

Frieze Talks

Friday 15 October, 12pm – Frieze Projects: Jeffrey Vallance
This panel discussion will avail itself of five mediums to communicate with the spirits of famous artists. The audience will be offered a rare opportunity to ask the likes of Jackson Pollock, Leonardo da Vinci, Frida Kahlo, Vincent Van Gogh and Marcel Duchamp searching questions about the role of art in the afterworld.

Saturday 16 October, 2.30pm – Susan Hiller in conversation with John Welchman
A chance to see the American, London-based artist Susan Hiller discuss her work and the role of humour in contemporary art today, ahead of the upcoming retrospective of her work at Tate Britain.

Frieze Film

Commissioned video works by British artists will be shown free of charge in a specially built cinema by the entrance to the fair. These include Linder's three-minute-long Forgetful Green, referencing Hieronymus Bosch's Garden of Earthly Delights, and a video by Stephen Sutcliffe inspired by an episode in Colin Wilson's celebrated novel The Outsider, involving a meeting with the devil.

Frieze Music

Friday 15 October, 8pm-midnight – The American band Hercules and Love Affair, in a rare UK performance styled as a homage to the Nineties house scene, will be supported by avant-pop duo Telepathe at Debut, a new music venue beneath London Bridge Station.

Saturday 16 October, 8pm-11pm – A candlelit jazz concert starring Baby Dee, a classically trained harpist and pianist, and the experimental Elysian Quartet will be staged at Shoreditch Church.

 

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In the name of the father: Patricia Lockwood on sex, centaurs and Catholicism

The author of the viral poem “Rape Joke” talks about growing up with her gun-toting Catholic “priestdaddy”.

“Oh my fricking God. It’s a centaur.” The American poet Patricia Lockwood and I are in the lobby of a Whitehall hotel and she is finding the quantity of equine art distracting. I have already been skipped along a corridor to examine the bizarrely detailed rendering of a horse’s anus in a Napoleonic painting (“They made a point of doing him straight up the butt”) that turns out to be a copy of Théodore Géricault’s Charging Chasseur. Now a statue on the mantelpiece has caught her eye, prompting a reverie on what she saw at the British Museum a couple of days ago: “A wonderful statue of a man kneeing a centaur in the balls. It’s the most important thing to me there. It’s so beautiful.”

The confluence of violence, sex, orifices, animals and mythology runs throughout Lockwood’s work in wild and witty poems such as “The Whole World Gets Together and Gangbangs a Deer” (inspired by the realisation that “Bambi is a puberty movie”) and “Revealing Nature Photographs” (pastoral verse meets porn spam) – and it also colours her new book, Priestdaddy, a deeply idiosyncratic family memoir in which copulation is a go-to metaphor. Her dad’s frenzied, tuneless playing raises the prospect that he might be “having sex with the guitar”; during Lockwood’s teenage depression, she writes, the only thing she was having sex with “was the intolerable sadness of the human condition, which sucked so much in bed”.

Lockwood (pictured at her First Holy Communion) has dark, cropped hair and elfin features, pearly white nails and sleeping cats on her knees (an effect achieved with decorated tights – “Let this be for the stocking boys,” she says). Her voice is deadpan, frequently dipping into laughter without losing her poise. She is one day off her 35th birthday and has been married since she was 21. Her father, Greg, is a priest and, along with her four siblings in a succession of rectories across the Midwest, she was raised a Catholic – thus ensuring, she says, the permanent sexual warping of her mind.

“We Catholics become perverts because of the way sex is discussed in strictly negative terms. I saw pictures of aborted foetuses before I knew what basic anatomy was.”

As a devout teenager, she attended a youth group called God’s Gang and was given a virginity pledge in the form of a business card. The group leaders had a “very hip and young” approach: “We’re going to tell you every single thing you can do, in explicit terms, and just be like, ‘But don’t do it.’”

The ribald humour of her writing – Lockwood is renowned on Twitter for her surreal “sexts” – often contains a darkness. The poem that made her name, “Rape Joke”, takes her experience of being raped at 19 by a boyfriend and metes it out in discrete, increasingly devastating soundbites and images. It was posted online in 2013 and went viral, leading to a publishing deal for her collection Motherland Fatherland Homelandsexuals.

After the rape, Lockwood was “absolutely insane” for about five years, but it’s not as if she was entirely happy before: at 16, she had attempted suicide by taking a hundred Tylenol tablets. Her memoir recounts, too, being embedded in a church mired in scandal, a claustrophobic situation that hit home when a priest close to her was arrested for having sex with a 14-year-old boy. Such events led to Lockwood abandoning her faith and escaping with Jason, her future husband, whom she met on an online poetry messageboard.

When Patricia was 30, she and Jason ran out of money and moved back to the rectory, allowing her to observe her parents afresh. The resulting portraits in Priestdaddy are larger than life: her mother, Karen, is a hyperactive generator of mad puns and proverbs; her ex-navy father is a self-mythologising, right-wing whirlwind of talk radio, guns and Tom Clancy novels. Married Catholic priests are rare but Greg, previously a Lutheran minister, got the pope’s permission to convert. Usually to be found in his underwear, he wants for no new expensive gadget or guitar, though the family is expected to make sacrifices. In 2001, two weeks before Patricia – who learned to read at three and was writing poetry at seven – was supposed to leave for college, he told her that they couldn’t afford it. He later “changed the story in his mind so that I had said I don’t need to go”.

“Growing up in my household,” she says, “all of these far-right, retrograde ideas of gender roles and the man as patriarch existed from the very beginning. But I didn’t think of my house as a bellwether of what was going to happen.” It came as no surprise to her that Greg and many like him voted for Trump. When she reported on a Trump rally in February 2016, she “moved like a ghost through the crowd. They saw me as one of their own.”

Anger at her father’s selfishness “would be useless”, and Lockwood respects his sense of vocation, which she feels she has inherited. She has believed in her own genius ever since she was writing “mermaids-having-sex-with-Jesus poems” at the age of 19. Jason is her support staff, licking her envelopes and buying her clothes. His offering the previous day was a T-shirt emblazoned with Justin Bieber’s face: it revealed how much she resembles the singer – “a full 90 per cent overlap” – and is definitely not ironic.

“Do you think we only got irony after Christ was crucified?” she wonders, and then spots two black-clad priests in dog collars who have sat down across the room from us. “Ooh,” she exclaims, awed and delighted, and then, in a whisper, ever confident in her powers of creation: “I manifested them.”

“Priestdaddy: A Memoir” is published by Allen Lane. “Motherland Fatherland Homelandsexuals” is published by Penguin

Tom Gatti is Culture Editor of the New Statesman. He previously edited the Saturday Review section of the Times, and can be found on Twitter as @tom_gatti.

 

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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