in Frieze London | 16 AUG 21

Your Guide to Frieze Sculpture 2021 in The Regent's Park

Learn more about the works featured in this year's public art display, with curator Clare Lilley's audio guide and descriptions from the galleries and artists

in Frieze London | 16 AUG 21

Rasheed Araeen, Lovers in The Regent’s Park, 2021 (Grosvenor Gallery)

The interlocking sections are open prisms constructed out of a series of triangles, rotated and orientated in different ways. Lovers in The Regent’s Park demonstrates Araeen’s development of a minimalist tradition which he first engaged with in the 1960s.

Daniel Arsham, Unearthed Bronze Eroded Melpomene, 2021 (Perrotin)

(On display for Frieze Week, 11-17 October 2021)

The Unearthed Bronze Eroded Melpomene (2021), based on the classical bust of the Roman muse found in the collection of the Louvre, emerges from the ground with crystallized erosions as though being excavated a thousand years in the future.

Anthony Caro, Palanquin, 1987-1991 (New Art Centre)

Palanquin is a sculpture, as Caro said, ‘on the border of architecture’. Its interior space suggests a room, but, unlike architecture, this is not for habitation. Instead, the structure is treated in an imaginative and playful way.

Gisela Colón, Quantum Shift (Parabolic Monolith Sirius Titanium), 2021 (GAVLAK)

Influenced by formal minimalism and land art, Colón deliberately transforms classic masculine forms into feminized power. Radiating futuristic energy, Quantum Shift proposes new historical and cosmological beginnings.

Sumayya Vally, Counterspace, Fragment of Serpentine Pavilion 2021 for Frieze Sculpture Park, 2021, (Serpentine, London)

This Fragment takes the form of a long table to facilitate small and intimate or large gatherings. Its design is based on past and present places of meeting, organising and belonging across London.

José Pedro Croft, Untitled, 2021 (Galeria Vera Cortês)

A large-scale work with an appearance of fragility, instability and impermanence. Austere in its form of elementary construction, the sculpture it is nonetheless vibrant, due to colour variations and transparency effects.

Carlos Cruz-Diez, Environnement de Transchromie Circulaire, 1965-2017 (Galerie Philippe Gravier)

Environnement de Transchromie Circulaire offers a subtractive colour experience that develops through a chromatic wandering, where the viewer can contemplate the landscape through a stained-glass window and observe the way it is being modified by colours as he walks around the work. It is a monumental work in which colours seem to emerge from the ground.

Stoyan Dechev, Event Horizon, 2019, (Anca Poterasu Gallery. Supported by the Romanian Cultural Institute)

The image of a thundering cloud with lightning, so recurrent in our culture, has both a mythical allure as well as a symbolical one in our digital age, a nexus point of disparate realities.

Ibrahim El-Salahi, Meditation Tree, 2018 (Vigo Gallery)

Inspired by the unique Haraza Tree, Ibrahim El-Salahi’s Meditation Tree series is an ongoing investigation of the tree/body metaphor; a link between heaven and earth, creator and created.

Divya Mehra, here at least we shall be free (build yourself a Taj Mahal for common folks OR a simple set for funniest home video), 2021 (Night Gallery)

(On display for Frieze Week, 11-17 October 2021)

This work takes the form of two inflatable emoji sculptures that are transformed into towering monuments. Mehra offers a space to contemplate profound loss, collective mourning, and the endlessness of racialized existence.

Annie Morris, Stack 9, Ultramarine Blue, 2021 (Timothy Taylor)

Stack 9 Ultramarine Blue, 2021 by British artist Annie Morris, is a sculpture that consists of irregularly shaped bronze patinated spheres arranged into a composition that extends towards the sky, relating to motherhood and the female body.

Isamu Noguchi, Play Sculpture, c. 1965/c. 1980 (fabricated 2021) (White Cube)

Made from six pieces of standard sewer pipe, Play Sculpture is one of Isamu Noguchi’s most successful all-in-one, environment- in-an-object playscapes.

Jorge Otero-Pailos, Biosignature Preservation, 2019 (Holtermann Fine Art)

Biosignature Preservation is wrought from the salvaged remains of the security fence raised around the U.S. Embassy in Oslo after 9/11, and removed upon the building’s sale. Part of Otero-Pailos’ series “American Fence”, it addresses themes of memory, heritage and transition.

Solange Pessoa, Untitled, from ‘Skull’ series, 2016 (Mendes Wood DM)

Through carved Brazilian soapstone, Pessoa creates a conversation between shared forms and interwoven cosmogonies. Her stylization of life assumes a radical depth, offering a language for reading and imagining the world.

Vanessa da Silva, Muamba Grove #1, #3 & #4, 2019 (Galeria Duarte Sequeira)

Muamba Grove series explores the intersection between the human body, nature and transmutation. Seen as unrooted bodies, genderless, neither human or part of nature, they are hybrids metamorphosing into something still unknown.

Rose Wylie, Pineapple, 2020 (David Zwirner)

The pineapple first appeared in Wylie’s work in 2013, embodying for her a wry commentary on the ‘prickly woman’ with its vaguely human proportions, spiked exterior and unusually large crown of leaves.

Tatiana Wolska, Untitled (module 1 and 2), 2019 (L’Etrangère / Irène Laub Gallery. Supported by the Mtec Bursary)

Tatiana Wolska transforms recycled plastic bottles into sprawling biomorphic forms. Placed within natural or urban environment, they highlight our wasteful consumption patterns that contribute to environmental catastrophe.

Yunizar, Induk Monster (Mother Monster), 2017 (Gajah Gallery)

Induk Monster (Mother Monster) by Indonesian artist Yunizar (founding member of artist collective Kelompok Seni Rupa Jendela) straddles the line between the natural and make- believe and confronts the whimsical and absurd.