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When in search of rising artists making extraordinary work, there’s usually no higher place to start out than with the opinions of different extra established artists. Frieze found this final 12 months by means of the success of its Artist-to-Artist initiative, which noticed six famend inventive figures, together with Tracey Emin and Simone Leigh, nominate the following technology of expertise for solo exhibitions on the truthful.
Frieze has introduced Artist-to-Artist again this 12 months, inviting one other six main artists—Hurvin Anderson, Lubaina Himid, Rashid Johnson, Glenn Ligon, Zineb Sedira and Yinka Shonibare—to place ahead their alternatives. “All of our nominators have a longstanding dedication to supporting different artists in their very own observe, by means of instructing, curating or establishing areas to assist artists,” says Frieze London’s director, Eva Langret, noting that for a lot of this might be their truthful debut. Right here, the nominating artists inform The Artwork Newspaper about their selections.
Lubaina Himid on Magda Stawarska
I’ve identified Magda Stawarska for over twenty years. Though our work contrasts aesthetically and differs in material, we’re each interested by revealing the hidden features of the reminiscences and histories we discover. I chosen her for Frieze as a result of I significantly admire her and her gallery, Yamamoto Keiko Rochaix.
Magda is an individual who layers issues, and I discover how she does this endlessly fascinating because it’s completely different from my observe. Artistically, I’m within the layers of historical past you possibly can peel again, however that’s not how I paint. One in every of Magda’s items in Frieze, for instance, is a 20m by 20m print made with 12 layers of patterns. Equally, when she makes sound works, there might be a area, a voice, and an archive recording composed one on prime of one other.
We’re each interested by revealing the hidden features of the reminiscences and histories we discover
Lubaina Himid, artist
Choosing her for this venture can also be a chance to commemorate the various issues I’ve discovered from working together with her in numerous methods. She was one of many first individuals to assist me make prints. Then, in 2017, I used to be requested to restage my paintings Naming The Cash, which, on the time, had a soundtrack that I made in 2004 in a shoddy means. She remade and recomposed the sound so it matched the standard of the paintings. I’ve additionally participated in a few of her sound items. I believe extra individuals ought to learn about her.
Rashid Johnson on Rob Davis
Rob Davis is from a reasonably under-resourced background and his work explores photographs and signifiers from this. I first met the New York-based artist round 25 years in the past once we have been each in Chicago. He was in a curatorial collective with one other painter, Michael Langlois, engaged on an exhibition that included me and some others. I fell in love with Robert and Michael’s observe as a result of it was out of step with the instances. Their representational work spoke this candid language round photos, exploring themes and ideas that weren’t de rigueur on the time. I turned very intrigued by the sophistication of their strategy.
Rob ultimately started making work on his personal, which carried on the sensibility of what he had been doing within the collaboration, however with extra of a relation to nostalgia and the exploration of his personal experiences. I’ve watched his observe mature and turn into extra difficult, and I believe he’s making among the most fascinating and trustworthy photos of any artist I do know immediately. I’m in deep gratitude for the seat I’ve had in watching his work unfold and evolve.
Peter Uka Kai Schmidt; courtesy of Mariane Ibrahim
Hurvin Anderson on Peter Uka
I got here throughout Peter Uka’s work by means of a mix of normal analysis and a good friend’s suggestion. I’ve but to fulfill Peter [in person], however we’ve had a number of conversations and I’m notably interested by his use of color, particularly its depth and boldness.
His work centres across the Black determine, which feels extra vital to me now than ever. Whereas it’s implausible that there have been many outstanding exhibitions which have targeted on the Black expertise lately, I don’t suppose the momentum ought to change in that respect. So, if I get the possibility to rejoice the work of a Black artist I love, I take it.
There aren’t that many parallels between Peter’s work and mine, other than possibly our concepts round reminiscence and the truth that we’re each attempting to recapture the essence of one thing from the previous. That mentioned, like me and lots of others, Peter has painted the barbershop. It’s a culturally vital house, in order that’s no shock. Nevertheless it’s all the time fascinating to see one other artist’s interpretation of it.
I hope that Peter’s show at Frieze will introduce many different individuals to his work and that guests will see the ability he has together with his palette and the refreshing notion in his storytelling and composition.
Nengi Omuku Photograph: Full Home Companions; courtesy the artist, Pippy Houldsworth Gallery and Kasmin, New York
Yinka Shonibare on Nengi Omuku
I met the Nigerian artist Nengi Omuku simply over ten years in the past when she was a pupil at Slade College of Positive Artwork, and I’ve been watching her progress ever since. As a substitute of engaged on canvas, she paints on Sanyan fabric, a standard Yoruba cloth, the place she creates stunning photographs that mix features of Nigerian and Western heritage.
Rising up, Nengi labored together with her mom, a florist and horticulturist, throughout college holidays, and he or she has introduced this expertise into her work in a multifaceted means. In her work, you possibly can see nature, landscapes and figuration, referencing her upbringing, in addition to the local weather. Her figures are additionally considerably nameless wanting as a result of she doesn’t need them to have any pronounced racial options, permitting them to be seen extra as common individuals.
Nengi’s items are generally displayed unconventionally, too, with some hung away from the wall so viewers can stroll round them. This offers individuals the chance to see the ability that goes into making these materials, breaking the boundaries between artwork and craft whereas additionally championing ladies’s work. In 2022, she went on an artists’ residency in Senegal, the place she labored with ladies who weave such materials.
It’s vital for individuals to see various views, completely different tales, and completely different individuals. And as somebody with an African British background, she has a voice that must be heard.
Glenn Ligon on Appau Junior Boakye-Yiadom
Appau Junior Boakye-Yiadom’s work is multifaceted, utilizing efficiency, images, video and sound. I selected him as a result of platforms like Frieze enable artists to get their work out to a wider viewers. I believe it’s onerous to seek out institutional areas to accommodate the number of his observe, which Frieze will enable him to do.
We regularly think about that artists are totally shaped, and I like that his work is concerning the want to be taught and the method of studying in public, in addition to the need to collaborate. I’m additionally impressed together with his means to suppose by means of what it means to make in and with the general public. A very powerful side of that is the danger. To be taught in public is to fail in public, too, and I believe that’s a generosity his observe presents—letting the inventive course of be seen.
I like that Appau Junior Boakye-Yiadom’s work is concerning the want to be taught and the method of studying in public
Glenn Ligon, artist
Over time, his ambitions have turn into extra advanced. He’s diving into his works in many various varieties and contemplating their implications. He’s pondering deeply about how he desires to have interaction audiences and who he’s collaborating with. We’re not merely watching him be taught, we’re studying too as a result of we get perception into how artists suppose and the way they make work. That’s what makes him stand out to me.
Massinissa Selmani Julie Ansiau for Centre Pompidou
Zineb Sedira on Massinissa Selmani
I selected Massinissa Selmani as a result of he’s an artist I respect. Like me, he’s from Algeria, and his work offers with many features of the nation’s politics and tradition, which I can hook up with.
There may be solely a small group of artists popping out of Algeria, so we are likely to know one another, both bodily or by means of one another’s artwork. His work took me aback as a result of it was very witty and had a way of humour particular to the nation. I additionally did an enormous venture on humour from the Nineteen Nineties, and I bear in mind having a really lengthy dialog with him concerning the caricature, jokes and humour used to combat towards what we name the “black decade” in Algeria. Massinissa and I are comparable in that we’re each interested by researching and pulling out histories from Algeria that would disappear if no one mentions them.
In my choice, I additionally thought of the house the place the works could be proven. I see Frieze extra as cubicles than exhibition areas, and I felt he might do one thing fascinating with that. He makes use of animations, drawings and installations. He reveals drawings on the partitions framed in a really classical method but in addition goes past that by displaying objects and animations on small screens and tables. I wished to decide on an artist who wouldn’t simply slap issues on the partitions like many galleries do.
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