in Frieze New York | 24 APR 24

Janine Mileaf's Top Picks from Frieze New York Viewing Room 2024

The Executive Director and Chief Curator of The Arts Club of Chicago admires Sonia Gomes’s textural evocation of memory, Rose Salane's heartbreaking images of confetti and the elegance of Suki Seuokyeong Kang’s woven work

in Frieze New York | 24 APR 24

Rose SalaneCity Hall, Marriages, September 11, 2023, 2024

C-Print mounted on aluminum, framed, 70 × 105 × 5 cm, edition of 3 + 2 AP. Presented by Carlos/Ishikawa. Under $10k

I imagine Rose Salane somehow insinuating herself into wedding ceremonies to collect the debris and spent confetti at the end. What is sadder than confetti after a party is over? The image captures refuse suspended in a moment of joy that seems to already hold within itself the inevitability of heartbreak.

Rose Salane, City Hall, Marriages, September 11, 2023, 2024. C-Print mounted on aluminum, framed, 70 × 105 × 5 cm, edition of 3 + 2 AP. © Rose Salane 2024. Courtesy the artist and Carlos/Ishikawa, London
Rose Salane, City Hall, Marriages, September 11, 2023, 2024. C-Print mounted on aluminum, framed, 70 × 105 × 5 cm, edition of 3 + 2 AP. © Rose Salane 2024. Courtesy the artist and Carlos/Ishikawa, London 

Sonia Gomes, Pano (Pano series), 2012

Stitching, bindings, various fabrics, lace, 137 × 104 × 7 cm. Presented by Mendes Wood DM. $250-500k

Constructed from dense and colorful textiles, sacks of hidden baubles, stockings, lace, beads and what could be a too-tight sweater once stretched over the body of a growing adolescent, Sonia Gomes’s work takes us through real or imagined memories – but also repels its audience, just a tiny bit, through the worn aspect of the materials.

Sonia Gomes, Pano (from "Pano" series), 2012. Stitching, bindings, various fabrics, lace, 137 × 104 × 7 cm. Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York
Sonia Gomes, Pano (Pano series), 2012. Stitching, bindings, various fabrics, lace, 137 × 104 × 7 cm. Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York

Nohemí Pérez, El señor de la gente, 2023

Charcoal and embroideries on unstretched canvas, 2.2 × 1.5 m. Presented by mor charpentier. $20-50k

There is something incredibly satisfying about the sensitivity of Nohemí Pérez’s grand-scale drawing. It is doubly rewarding to go deep into the details of mark making and find embroidered creatures that speak to the particularities of an endangered landscape.

Nohemí Pérez, El señor de la gente, 2023. Charcoal and embroideries on unstretched canvas, 2.2 × 1.5 m. Courtesy of Mor Charpentier
Nohemí Pérez, El señor de la gente, 2023. Charcoal and embroideries on unstretched canvas, 2.2 × 1.5 m. Courtesy of mor charpentier

Thaddeus MosleyMisterioso - T. Sphere Monk, 2008

Locust wood, 198 × 71 × 61 cm. Presented by Karma. $250-500k

As I consider Thaddeus Mosley’s flowering form, I conjure the notes of Thelonious Monk after whom the work is named. They aren’t entirely aligned in my mind, but the syncopation and off-kilter balance of this rough-hewn structure place me in the realm of Monk's sound.

Thaddeus Mosley, Misterioso - T. Sphere Monk, 2008. Locust wood, 198 × 71 × 61 cm. © Thaddeus Mosley. Courtesy the artist and Karma
Thaddeus Mosley, Misterioso - T. Sphere Monk, 2008. Locust wood, 198 × 71 × 61 cm. © Thaddeus Mosley. Courtesy the artist and Karma

Suki Seokyeong KangMat 61 × 81 #23-74, 2023

Painted steel, woven dyed Hwamunseok, thread, wood frame, brass bolt, leather scraps, 82 × 62 × 8 cm. Presented by Commonwealth and Council. $35k

The geometry and structure of Suki Seokyeong Kang’s woven, gridded work strike me as elegant and intriguing. Though the composition leaves open questions – is it a code or a musical score? Or is it utterly non-referential? – The Hwamunseok reed mats echo with cultural specificity and craft.

Suki Seokyeong Kang, Mat 61 × 81 #23-74, 2023. Painted steel, woven dyed Hwamunseok, thread, wood frame, brass bolt, leather scraps, 82 × 62 × 8 cm. Courtesy of Commonwealth and Council
Suki Seokyeong Kang, Mat 61 × 81 #23-74, 2023. Painted steel, woven dyed Hwamunseok, thread, wood frame, brass bolt, leather scraps, 82 × 62 × 8 cm. Courtesy of Commonwealth and Council

Florian PumhöslAcrylic Study, 2023

Acrylic on Finnpappe, mounted on wood, 38 × 28 cm. Presented by Miguel Abreu. $18,000

Although they may not be as immediately gratifying in online reproduction, Florian Pumhösl’s painted works are sumptuous and lush, rigorous and inventive. Acrylic Study excavates layers of formation that point toward the shifting state of our planet’s surface. The details of shapes reward extended contemplation.

Florian Pumhösl, Acrylic Study, 2023. Acrylic on Finnpappe, mounted on wood, 38 × 28 cm. Courtesy of Miguel Abreu
Florian Pumhösl, Acrylic Study, 2023. Acrylic on Finnpappe, mounted on wood, 38 × 28 cm. Courtesy of Miguel Abreu

About Janine Mileaf

Janine Mileaf is Executive Director and Chief Curator of The Arts Club of Chicago. A scholar of the interwar avant-garde, she was formerly Associate Professor at Swarthmore College. She is the author of Please Touch: Dada and Surrealist Objects After the Readymade, and has co-edited volumes with Susan Rossen on the history of The Arts Club, as well as Chicago Surrealism. At The Arts Club of Chicago, she has curated exhibitions with such international artists as Hurvin Anderson, Rathin Barman, Kerstin Brätsch, Pedro Cabrita Reis, Abraham Cruzvillegas, Suzanne Jackson, Jennie C. Jones, Janice Kerbel, Hannah Levy, Sharon Lockhart, Josiah McElheny, Roman Ondak, Jessi Reaves, Amy Sillman, and Simon Starling. She has also established a program of garden installations with Chicago-based artists including Robert Burnier, Andrea Carlson, Jenny Kendler, Claire Pentecost, Edra Soto, and Amanda Williams. Upcoming exhibitions include "Teresa Baker: Shift in the Clouds" (2024) and "Haegue Yang: Flat Works 2004-2024" (2024). 

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Main image: Janine Mileaf

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