Hauser & Wirth at Frieze London and Masters

11 – 15 October 2023
​Regent’s Park, London

This year at Frieze London, Hauser & Wirth proudly presents a solo booth of work by the acclaimed Paris- based, American artist Barbara Chase-Riboud. The presentation features three bronze sculptures from the series Standing Black Woman of Venice (1969-2020), as well as six recent works made from silk pierced on paper in her signature automatic writing.

The gallery also returns to Frieze Masters with a presentation that focuses on one of the great luminaries of 20th-century art, Philip Guston (1913 – 1980), coinciding with the major travelling retrospective ‘Philip Guston,’ opening on 5 October 2023 at Tate Modern. The booth will present a selection of important paintings and works on paper by Guston from the early 1950s until the late 1970s, as well as works by modern masters who were working in and around New York at the same time as Guston. These include artists from the gallery’s roster such as Louise Bourgeois, Eva Hesse, Lee Lozano, Maria Lassnig, Jack Whitten, Alexander Calder, Frank Bowling and more. Once again, the gallery will partner with Moretti Fine Art.

Alongside the fair, the immersive exhibition ‘Avery Singer. Free Fall’ will open on 10 October across both spaces of Hauser & Wirth London, marking the artist’s first solo show in the UK. As part of Hauser & Wirth’s global learning platform, this exhibition will be complemented by an Education Lab for the first time in the London gallery. As part of the Frieze VIP program, Avery Singer will be in conversation with Simon Denny, moderated by Hans Ulrich Obrist on Thursday 12 October at 10am at Hauser & Wirth London.

Frieze London – Booth D05
​Barbara Chase-Riboud. Standing Black Women of Venice (1969-2020)
​On view in the center of the booth are three sculptures from Chase-Riboud’s Standing Black Woman of Venice series, consisting of four rectangles cast in black bronze stacked vertically with seemingly molten, undulating and shimmering surfaces. Chase-Riboud individually titled each work after the first known female poets: ‘Standing Black Woman of Venice X, Vijja (BBBA)’ (1969-2020) takes its name from Vijja, an 8th-century Sanskrit poet from present-day India; ‘Standing Black Woman of Venice IV, Praxilla (BABA)’ (1969- 2020) from Praxilla of Sicyon, a Greek lyric poet from the 5th Century BC; and ‘Standing Black Woman of Venice V, Nossis (AABB)’ (1969-2020) from Nossis, a Hellenistic Greek poet. Committed to foregrounding diasporic or transcultural narratives, Chase-Riboud memorializes powerful or at times marginalized women in history. These large-scale, abstract sculptures are made using two modules created in 1967, reconstructed mathematically into 16 different configurations that were originally created for Chase-Riboud’s horizontal floor work ‘Bathers’ (1969-72). Reorientating the work vertically, the artist reassembled the resulting bronze plaques into various grid configurations, making 16 unique sculptures from this series in total. The artist employed a sand-casting method to produce a glossy and polished bronze alloy surface, its folds and creases evoking the sense of suspended water.

In addition to the sculptures, six works on paper will be presented in the booth, all made in 2020. Using a technique she has used since the 1970s, Chase-Riboud creates different graphic formations pierced directly onto paper using silk thread, reminiscent of handwriting or hieroglyphics. A celebrated poet and writer, the artist approaches these works similarly to her automatic writings and poems, akin to a visual, surrealist train of thought, also reflected in the titles of the works. This presentation at Frieze is Chase-Riboud’s first with the gallery since Hauser & Wirth announced representation of the artist earlier this year and will precede an exhibition inaugurating the gallery’s new location in New York on Wooster Street, opening 7 November 2023. The Museum of Modern Art (MoMA), New York is now showing ‘The Encounter: Barbara Chase-Riboud/ Alberto Giacometti’. On view through 9 October, this landmark exhibition pairs the pioneering work of two international artists whose breakthroughs have shaped the course of modern sculpture.

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Frieze Masters ​ – Booth D01
​The visionary art of Guston spans half a century and continues to exert a powerful influence on contemporary culture today. To celebrate the Tate Modern exhibition, the gallery’s booth presents a selection of paintings and works on paper by Guston dated from the early 1950s until the late 1970s, including a rarely exhibited early abstract work ‘Ochre Painting I’ (1951), first shown in Guston’s mid-career retrospective in 1962 at the Guggenheim Museum of Art, New York. The presentation also features important late figurative works including ‘Untitled (Rome)’ (1971), made after the artist’s residency at the American Academy in Rome in 1970 and 1971, and ‘Calm Sea’ (1977) painted three years before the artist’s death, which is placed in dialogue with ‘Black Sea’ (1977), held in the collection of Tate and featured in the Tate Modern retrospective.

The booth will also bring works by modern masters who were working in and around New York at the same time as Guston, including two important sculptures by Louise Bourgeois: ‘Knife Couple’ (1949), an extraordinary work from Louise Bourgeois’s most renowned series, the Personages, which she created between the late 1940s and early 1950s, and a late fabric head by the artist titled ‘Mute’ (2002). Other major 20th-century sculptures include a significant early mobile by Alexander Calder, ‘Untitled’ (1939), composed of a combination of delicately interlocking wires and balanced shapes, colours and proportions, shown alongside an oil on canvas by the artist.

Notable paintings on view include Ed Clark’s ‘Patel Wheel’ (1989), exemplary of the artist’s celebrated Broken Rainbow series created using a push broom, as well as the extraordinary Frank Bowling painting ‘Mother’s House and Night Storm’ (1967), which has just been shown at the artist’s recent exhibition at SF MoMA. Additional painterly works by modern masters include a rarely exhibited, early abstract painting ‘Atlantis Rising’ (1966) by Jack Whitten and Eva Hesse’s ‘No title’ (1960), made by the artist when she was merely 24 years old.

Museum exhibitions and events in London ​
​The gallery’s artists will also feature in a number of major institutional shows in London during Frieze week. In addition to ‘Philip Guston’ at Tate Modern, the first retrospective of US artist Nicole Eisenman will open at Whitechapel Gallery on 11 October. Also on view during Frieze is the landmark exhibition ‘The Mother & The Weaver: Art from the Ursula Hauser Collection’ at the Foundling Museum, featuring works by Louise Bourgeois, Luchita Hurtado, Maria Lassnig and Pipilotti Rist. As part of the Frieze VIP program, British artist Thomas J Price will be in conversation with Gus Casely-Hayford at Frieze Masters on Wednesday 11 October at 3pm, on occasion of the artist’s display at the V&A which sets his work in dialogue with the historic collections.

Learning at Hauser & Wirth London
​Throughout Frieze week, members of the Learning team from Hauser & Wirth London will be available on the following dates and times at the gallery to give visitors an overview of Avery Singer’s exhibition ‘Free Fall’ and facilitate engagement with the exhibition’s accompanying Education Lab.

Tuesday 10, Wednesday 11, Thursday 12, Friday 13 October
​10 am – 12 pm and 2 pm – 4pm.

Press contacts:
​Alice Haguenauer, Hauser & Wirth, alicehaguenauer@hauserwirth.com, +44 (0) 7880 421 823
​Maddy Martin, Hauser & Wirth, maddymartin@hauserwirth.com, +44 7585 979564 ​
​Rachel John, SUTTON, rachelj@suttoncomms.com, +44 7808 039664

^{Caption and courtesy information:}

^{Barbara Chase-Riboud, Standing Black Woman of Venice V, Nossis (AABB), 1969-2020, Black bronze, 245 x 45.6 x 68.8 cm / 96 1/2 x 18 x 27 1/8 in © Barbara Chase-Riboud. Courtesy the artist and Hauser & Wirth. Photo: Alex Delfanne}

^{Philip Guston, Calm Sea, 1977, Oil on canvas, 174 x 217.2 cm / 68 1/2 x 85 1/2 in © The Estate of Philip Guston. Courtesy the Estate and Hauser & Wirth. Photo: Sarah Muehlbauer}

^{Barbara Chase-Riboud portrait with Time Womb, 2022. Courtesy the artist and Hauser & Wirth. Photo: © Pulitzer Arts Foundation.}

^{Barbara Chase-Riboud, Installation view, ‘Standing Black Woman of Venice X, Vijja (BBBA)’ (1969-2020), ‘Standing Black Woman of Venice IV, Praxilla (BABA)’ (1969-2020), ‘Standing Black Woman of Venice V, Nossis (AABB)’ (1969-2020), Black bronze, Dimensions variable © Barbara Chase-Riboud. Courtesy the artist and Hauser & Wirth. Photo: Alex Delfanne}

^{Philip Guston, Ochre Painting I, 1951, Oil on canvas, 73.3 x 116.2 cm / 28 7/8 x 45 3/4 in © The Estate of Philip Guston. Courtesy the Estate and Hauser & Wirth. Photo: Sarah Muehlbauer}

^{Louise Bourgeois, The Mute (detail), 2002, Fabric and aluminum, 177.8 x 61.3 x 61.3 cm / 70 x 24 1/8 x 24 1/8 in © The Easton Foundation/VAGA at ARS, NY. Photo: Todd-White Art Photography}

^{Ed Clark, Patel Wheel, 1989, Acrylic on canvas, 139.7 x 179.1 cm / 55 x 70 1/2 in © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth. Photo: Sarah Muehlbauer}

^{Frank Bowling, Mother's House and Night Storm, 1967, Acrylic on canvas, 148 x 117.5 cm / 58 1/4 x 46 1/4 in © Frank Bowling. All rights reserved, DACS 2023 Courtesy the artist and Hauser & Wirth. Photo: Damian Griffiths}

^{Alexander Calder, Untitled, 1939, Sheet metal, wire, rod, and paint, 142.2 x 116.8 x 61 cm / 56 x 46 x 24 in ©️ 2023 Calder Foundation, New York / DACS London. Courtesy of Calder Foundation, New York. Photo: Christopher Burke}

^{Jack Whitten, Atlantis Rising, 1966, Acrylic on canvas, 152 x 213 x 2.8 cm / 59 7/8 x 83 7/8 x 1 1/8 in © Jack Whitten Estate. Courtesy the Estate and Hauser & Wirth. Photo: Jon Etter}