SEOUL.- Gagosian will participate in the third edition of Frieze Seoul with paintings, sculptures, and mixed-media works by an international grouping of gallery artists.
Gagosian’s presentation features Whatever (En Vogue) (2024), a painting by Derrick Adams from a body of new work that debuts in The Strip, an exhibition held from September 3 through October 12 at APMA Cabinet in the headquarters of Amorepacific, Seoul. Inspired by mannequin heads adorned with wigs in store windows, these paintings explore themes of style, beauty, and urban life. Taking a different approach to portraiture in her detailed oil painting Portrait with Pearls (after François Gérard) (2024), Ewa Juszkiewicz shrouds her sitter’s features, obscuring them with elaborate folds of red drapery so that only her jewelry is revealed. Meticulously re-creating the style of eighteenth- and nineteenth-century European paintings, Juszkiewicz applies surrealist strategies to undermine their conventions and deconstruct the representation of women.
A large-scale painting from 2023 by Albert Oehlen balances improvisation and control in surprising combinations of vivid colors and gestural brushstrokes, implied contours and broken geometries. Mixing painting and collage, Fish Eyed View (2024) by Rick Lowe juxtaposes repeated rectilinear units with amorphous areas of blue, suggesting both the dense connections of urban infrastructure and the irregularity of bodies of water. Linked to Lowe’s collaborative civic initiatives, his abstractions offer new perspectives on geographic and social relations. Hao Liang’s painting on silk panel Impression of Iceland–Ragnarök (2024) applies the methods of traditional Chinese ink wash painting to create a visionary landscape. With delicate tones, it interweaves tumultuous clouds and waves with the spirit of myth.
Maurizio Cattelan’s Sunday (2024) works are gold-plated stainless-steel panels that have been shot with guns of different calibers. Their once smooth surfaces are riddled with craters and holes, offering a provocative commentary on the coexistence of opulence and violence. Born in Korea and a vital figure of his era’s international avant-garde, Nam June Paik (1932–2006) pioneered the radical incorporation of television technology into fine art. From 1963, Paik began manipulating television signals with magnets and magnetic coils, among other interventions. Comprised of copper coils wrapped in cords, videotape, electrical tape, a microphone, and a foot switch, Life Rings (1965) arrays these components into a wall-mounted composition.
Additional featured artists include Amoako Boafo, Carol Bove, Edmund de Waal, Urs Fischer, Helen Frankenthaler, Cy Gavin, Katharina Grosse, Jennifer Guidi, Lauren Halsey, Simon Hantaï, Tetsuya Ishida, Donald Judd, Tyler Mitchell, Sabine Moritz, Takashi Murakami, Oscar Murillo, Sterling Ruby, Ed Ruscha, Spencer Sweeney, Adriana Varejão, Mary Weatherford, and Stanley Whitney.
