Art about flexibility and resistance dazzles in Frieze la
Los Angeles – With the crowds sliding at Santa Monica airport yesterday, February 20, to open Frieze Los Angeles, informal passers -by may be forgotten that it was certain whether the exhibition of international art would return to LA this month. Forest fires have just swept through Pacific Palisades and Altadena, which strongly affects the city’s technical societies. Despite some concerns about whether it was “very early”, the organizers decided to move forward as planned alongside four other exhibitions in Los Angeles that occurred simultaneously, with the idea that they were an opportunity for those affected to benefit financially – and for the Friday and sponsors to show them support. In a public recognition of these tensions, Frieze added the sub -title “to celebrate creative flexibility and rebuild society” in press materials.
However, it was impossible to ignore the ghost of fires. It was immediately clear when I was walking to the tent, where “Nomad” from Dominic Modi (2015-2025) faced a handcrafted trailer made of parts of wood, steel and wiping the Technical Production Fund initiative. MOODY trailer on the Zlowhian farm, most of which was burned in the Eaton fire, was visiting the family of the late assembly artist John Outterbridge the day that their homes had already been destroyed. After Blaze Altadena, I decided to dedicate work to those “who lost everything” with a focus on “influencing the largest arts community, especially the black arts community that is strongly there.”
Nearby, a group of artists created an incomplete installation of stray and consisting of a picnic blanket that sat with a pieces of burning and charred furniture. KIKESA Cosio, one of the artists, told me that.Here is a houseThe location of offers will be throughout the weekend to raise the level of awareness of the destruction that the Altadena community, which her family described as home since the twenties of the twentieth century.
Even inside the tent, works that were not related to the last tragedy have taken new levels of meaning. “Nomadic Folly” (2001) from Chris Barden (2001), which was originally created for the 2001 Istanbul race, which was presented by Gagosian Exhibition, is similar to the structure made of carpets, pillows, curtains and the shared desert oasis, highlighting the basic need for shelter. The decision to show the piece in the current context can be read as thoughtful or exploitative, depending on your point of view.
While Frieze took great steps to recognize the disaster and support the affected people – with 10 % of the ticket sales that were donated to the La Art Community Fire Relief Fund Fund, the Black Guard Alliance booth focused on the black Altadena community, and an initiative to collect donations “exhibitions” for “exhibitions” to collect donations For the international exhibitions that you wish In help – it was easy to overlook these initiatives and get a cliff in the exhibition maze of the exhibition with approximately 100 exhibitors.
“It seems to be the current situation.” “Everything benefits the victims of forest fires, as it should, but it may be difficult to know that.”
Although it might be strange to see the usual blue art (curved mirrors Anish Kapoor, Alex Katz photos) against the background of all loss and destruction, “work as usual” was a kind of this point. After all, the exhibition’s success is seen as a reflection of the flexibility of the art world in Los Angeles after the fires. For fear of lower sales, some exhibitors preferred to postpone the event, with a bunch of exit completely. However, most of them at the forefront, hoping that universities from all over the United States and abroad would be afraid through news photos that gave the impression of many other than Angelino that all Los Angeles was mired in fire.
However, on the opening day, there was a clear sensation and a festive atmosphere between both exhibitors and sponsors.
“People heard the invitation to attend and support,” said Irene Christoval, the coordinator of the Hamer Museum. This feels positive in the wake of fires. What local artists need is money in their pockets. “
Los Angeles Sibititian Gladstone said that he sold seven of nine wood and bronze sculptures by Emmanuel Louesenoord Deir, with a price of between 10,000 dollars and $ 40,000. At a joint kiosk exhibition with Stars, one of the most powerful presentations in the exhibition, the DESIR statues that mix the Afro Futures with a dark ghost aesthetic with insight paintings by the late Mette Madsen.
Despite early success, Gladstone noticed that he had not yet seen members of the upper levels of the crowd amateurs. Hollywood made a show – I was observed by the greenhouses, Getty, James Franco and Justin Batman, retreating from Shumuch, and Kod Kody, his family, James Torry, the glowing of the Pais Gallery.
Sam Parker of Parker’s exhibition indicated that his early doubts about the participation rate had been dissipated. In the previous evening, the exhibition opened its new location in Hollywood with individual shows by Joe Minter and Dizy Chef, and welcoming hundreds of visitors. “He was crazy,” shouted. “Power is great.”
Tomokazu Matsuyama’s maximum show in Alumine Rech is nine paintings, dazzling in Biro Biro, which melts patterns, shapes and western forms, which reflects his hybrid identity in its shape by moving to the United States from Japan as a child. “Flexibility is a familiar thing in a Japanese context,” he told me, in reference to the disasters, natural and racist, which affected the island’s nation. The exhibition said in an e -mail that the historical and cultural multiplicity in the works seem to resonate, as almost all works, which were priced from $ 100,000 to $ 600,000, have been sold four to institutional groups.
“It was a wonderful morning – everyone talks about energy, and a feeling of lightness. Trevin McGuan of the southern union said,” It is a confirmation that we should do so, we must all be together. “The exhibition expanded from its base in Cape Town, South Africa to Los Angeles last February.
The width of the cabin is 5 artists from women, four from South Africa and one of Los Angeles: Photography by Zanley Mohouli and Alex Heidson, textiles by Bonolo Cavula, Tower and Bronze Cheese La Space.
Although the area inside the tent can look far from the world full of abroad, the McGowan admitted the platform presented by the exhibition. “Since the elections, the matter clarified: All we do must do with a goal, towards equality and diversity. It cannot be essential, it must be at the forefront of every decision we make.”
Confronting the rapid rise of foreigners’ fear, intolerance, and nationalism, the expressions of solidarity and resistance can be seen elsewhere throughout the exhibition, especially in many freeze projects, including Jackos De Enegía Entre Trayyctorias (Strokes of Energy) between the dimensions of Defermanent) (2025). The artist’s installation of lava, soil, and corn diamonds that dealt with a lot of the football field, and the central point was an American pyramid. Near -placed, Ozzie Juarez re -created South Center Swap, inspired by those who grew up, and was giving games sources from these actual gatherings and re -filling.
“Are they from? WormIEs?! “A woman wore a sharp suit with enthusiasm, where she took a small statue of anyone lovable Chicano/Latino characters.
Victor “Marka27” quiñonez, who Screaming (2025) A series of neon resins Baltas, Or ice legitimate organic pollutants, re -modifying the Immigration and Customs Enforcement Agency as “inhuman and enforcement of cruelty”, the exhibition impact award for 2025.
As part of the AmbOS project (art made between the two interviewed sides), Tania Agalhaa designed a fruit vehicle where she and her sister Carla Agaga appear as a ceramic composition of exciting fruit sculptures, Frutas Coquetas (exciting fruit) (2025)and It was established by artists on a refugee and asylum -seekers program. Despite their prominent location inside the tent for the first time, the crowds surrounding the cart, Auguñiga noticed the separation between the model of the model exhibition and its societal artistic practice.
“I agree to be for everyone,” Agwiga said, in fact, standing in front of her suggestive pears, valic banana and other silk fruits. “People are afraid to take positions on things that are not related to their lives, when it is all about all of us.”
