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Sean Kelly at Frieze London 2022 October 14 – 16, 2022, The Regent’s Park, Stand D08 Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022

October 14 – 16, 2022, The Regent’s Park, Stand D08

Photography: Sebastiano Pellion di Persano

Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022 October 14 – 16, 2022, The Regent’s Park, Stand D08 Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022

October 14 – 16, 2022, The Regent’s Park, Stand D08

Photography: Sebastiano Pellion di Persano

Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022 October 14 – 16, 2022, The Regent’s Park, Stand D08 Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022

October 14 – 16, 2022, The Regent’s Park, Stand D08

Photography: Sebastiano Pellion di Persano

Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022 October 14 – 16, 2022, The Regent’s Park, Stand D08 Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022

October 14 – 16, 2022, The Regent’s Park, Stand D08

Photography: Sebastiano Pellion di Persano

Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022 October 14 – 16, 2022, The Regent’s Park, Stand D08 Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022

October 14 – 16, 2022, The Regent’s Park, Stand D08

Photography: Sebastiano Pellion di Persano

Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022 October 14 – 16, 2022, The Regent’s Park, Stand D08 Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022

October 14 – 16, 2022, The Regent’s Park, Stand D08

Photography: Sebastiano Pellion di Persano

Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022 October 14 – 16, 2022, The Regent’s Park, Stand D08 Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly

Sean Kelly at Frieze London 2022

October 14 – 16, 2022, The Regent’s Park, Stand D08

Photography: Sebastiano Pellion di Persano

Courtesy: Sean Kelly

Marina Abramović The Lovers (4 Shoes), 1988 / printed 2019 the work is accompanied by a signed certificate of authenticity framed and matted color photograph with unique drawing by the artist below the image image: 16 3/8 x 23 7/8 inches (41.6 x 60.6 cm) paper: 28 9/16 x 26 7/16 inches (72.5 x 67.2 cm) mat opening: 25 1/4 x 23 7/16 inches (64.1 x 59.5 cm) frame: 29 3/8 x 27 1/4 x 1 9/16 inches (74.6 x 69.2 x 4 cm) from a series of 12 color photographs with 2 APs (this is number 7), each with a unique drawing (MA-1.11.7)

Marina Abramović

The Lovers (4 Shoes), 1988 / printed 2019

the work is accompanied by a signed certificate of authenticity

framed and matted color photograph with unique drawing by the artist below the image

image: 16 3/8 x 23 7/8 inches (41.6 x 60.6 cm)
paper: 28 9/16 x 26 7/16 inches (72.5 x 67.2 cm)
mat opening: 25 1/4 x 23 7/16 inches (64.1 x 59.5 cm)
frame: 29 3/8 x 27 1/4 x 1 9/16 inches (74.6 x 69.2 x 4 cm)

from a series of 12 color photographs with 2 APs (this is number 7), each with a unique drawing

(MA-1.11.7)

Anthony Akinbola Camouflage Study "Blue" , 2022 signed by artist on label, verso durags, acrylic on wood panel panel: 36 x 36 inches (91.4 x 91.4 cm) overall: 67 1/4 x 36 inches (170.8 x 91.4 cm) (AAk-16)

Anthony Akinbola

Camouflage Study "Blue" , 2022

signed by artist on label, verso

durags, acrylic on wood panel

panel: 36 x 36 inches (91.4 x 91.4 cm)
overall: 67 1/4 x 36 inches (170.8 x 91.4 cm)

(AAk-16)

Dawoud Bey Cabin and Spanish Moss, 2019 signed by artist on label, verso gelatin silver print image: 44 x 55 inches (111.8 x 139.7 cm) paper: 48 x 59 inches (121.9 x 149.9 cm) framed: 49 x 60 x 2 inches (124.5 x 152.4 x 5.1 cm) edition of 6 with 2 APs (#2/6) (DB-ITHP.19.02.2)

Dawoud Bey

Cabin and Spanish Moss, 2019

signed by artist on label, verso

gelatin silver print

image: 44 x 55 inches (111.8 x 139.7 cm)
paper: 48 x 59 inches (121.9 x 149.9 cm)
framed: 49 x 60 x 2 inches (124.5 x 152.4 x 5.1 cm)

edition of 6 with 2 APs (#2/6)

(DB-ITHP.19.02.2)

Julian Charrière Thickens, pools, flows, rushes, slows, 2020 the work is accompanied by a signed certificate of authenticity obsidian 41 5/16 x 45 1/4 x 59 1/16 inches (105 x 115 x 150 cm) (JCh-277)

Julian Charrière

Thickens, pools, flows, rushes, slows, 2020

the work is accompanied by a signed certificate of authenticity

obsidian

41 5/16 x 45 1/4 x 59 1/16 inches (105 x 115 x 150 cm)

(JCh-277)

Laurent Grasso Studies into the Past the work is accompanied by a signed certificate of authenticity oil on canvas painting: 36 11/16 x 31 5/8 inches (93.2 x 80.3 cm) framed: 38 5/16 x 33 1/4 x 1 7/8 in (97.3 x 84.5 x 4.8 cm) (LG-P.21.3016)

Laurent Grasso

Studies into the Past

the work is accompanied by a signed certificate of authenticity

oil on canvas

painting: 36 11/16 x 31 5/8 inches (93.2 x 80.3 cm)
framed: 38 5/16 x 33 1/4 x 1 7/8 in (97.3 x 84.5 x 4.8 cm)

(LG-P.21.3016)

Ilse D'Hollander Untitled, 1996 with accompanying certificate of authenticity signed by Ric Urmel, Executor of the Estate oil on canvas painting: 17 5/16 x 14 15/16 inches (44 x 38 cm) framed: 18 7/16 x 15 5/8 x 1 3/4 inches (46.8 x 39.7 x 4.4 cm) (IDH-P.366)

Ilse D'Hollander

Untitled, 1996

with accompanying certificate of authenticity signed by Ric Urmel, Executor of the Estate

oil on canvas

painting: 17 5/16 x 14 15/16 inches (44 x 38 cm)
framed: 18 7/16 x 15 5/8 x 1 3/4 inches (46.8 x 39.7 x 4.4 cm)

(IDH-P.366)

Peter Liversidge Effigy Group X (Aberdeenshire, California, Iceland, Norfolk), 2022 found stones, archival glue, welded brass, acrylic, un-waxed sapele wood shelf: 5 1/2 x 39 3/8 x 8 7/16 inches (14 x 100 x 21.5 cm) (PLi-263)

Peter Liversidge

Effigy Group X (Aberdeenshire, California, Iceland, Norfolk), 2022

found stones, archival glue, welded brass, acrylic, un-waxed sapele wood

shelf: 5 1/2 x 39 3/8 x 8 7/16 inches (14 x 100 x 21.5 cm)

(PLi-263)

Sam Moyer Payne 116, 2021 signed by the artist, verso oil paint on Bristol paper: 24 x 19 inches (61 x 48.3 cm) frame: 25 11/16 x 20 11/16 x 1 3/8 inches (65.2 x 52.5 x 3.5 cm) (SM-WP.21.1475)

Sam Moyer

Payne 116, 2021

signed by the artist, verso

oil paint on Bristol

paper: 24 x 19 inches (61 x 48.3 cm)
frame: 25 11/16 x 20 11/16 x 1 3/8 inches (65.2 x 52.5 x 3.5 cm)

(SM-WP.21.1475)

Frank Thiel Perito Moreno #06, 2012/2013 titled, dated, signed and numbered on verso framed chromogenic print face mounted to Plexiglas framed: 84 1/8 x 70 x 2 1/8 inches (213.7 x 177.7 x 5.5 cm) edition of 5 with 2 APs (#1/5) (FT-PM.06.L.1)

Frank Thiel

Perito Moreno #06, 2012/2013

titled, dated, signed and numbered on verso

framed chromogenic print face mounted to Plexiglas

framed: 84 1/8 x 70 x 2 1/8 inches (213.7 x 177.7 x 5.5 cm)

edition of 5 with 2 APs (#1/5)

(FT-PM.06.L.1)

Janaina Tschäpe Grayblue Matter, 2022 signed and dated by the artist, verso oil and oil stick on canvas 85 x 115 inches (215.9 x 292.1 cm) (JTs-P.22.5512)

Janaina Tschäpe

Grayblue Matter, 2022

signed and dated by the artist, verso

oil and oil stick on canvas

85 x 115 inches (215.9 x 292.1 cm)

(JTs-P.22.5512)

Wu Chi-Tsung Cyano-Collage 149, 2022 signed and dated by the artist, verso cyanotype photography, Xuan paper, acrylic gel, acrylic, mounted on aluminum board 35 7/16 x 35 7/16 inches (90 x 90 cm) round (WCT-62)

Wu Chi-Tsung

Cyano-Collage 149, 2022

signed and dated by the artist, verso

cyanotype photography, Xuan paper, acrylic gel, acrylic, mounted on aluminum board

35 7/16 x 35 7/16 inches (90 x 90 cm) round

(WCT-62)

Press Release

Frieze London 2022

Stand D08
The Regent's Park, London, UK

VIP Preview days: October 12-13, 2022
Public days: October 14-16, 2022

Sean Kelly is delighted to return to Frieze London with a presentation of works highlighting the gallery's international roster of artists. Our booth will feature works from Marina Abramović's series The Lovers, which document the similarly titled performance by Abramović and Ulay in 1988, during which the two artists walked from either end of the Great Wall of China toward each other until they met in the middle. Anthony Akinbola's signature Camouflage paintings explore the du-rag as both a material for art-making and as commentary on larger issues of identity, respectability, and the commodification of African American culture. Dawoud Bey's recent series, In This Here Place, focuses on plantations in Louisiana, continuing the artist's ongoing examination of African American history and his efforts to make the Black past resonant in the contemporary moment. James Casebere's constructed images occupy a space between the real and imaginary: he carefully constructs architectural models and photographs them, creating images that are dramatic, surreal, and address environmental issues. Julian Charrière's new sculpture, Thickens, pools, flows, rushes, slows, is made from a large piece of obsidian punctuated by polished concave forms. It recalls both the mineral history of the earth and the influence of this material in cultures from the Aztecs to 19th Century Romantics. Paintings by Laurent Grasso pay homage to Claude Monet and his brilliance for capturing light, while addressing themes of duplicity and the shifting perceptions of reality in his ongoing investigation of the territory between what is known and unknown. Ilse D'Hollander's paintings reveal an acute understanding of the nuances of composition and color. Her work is distinguished by its subtle tonalities, depicting variations in scale and surface that give her work its contemplative tranquility. Peter Liversidge's sculptures explore the psychological phenomenon of pareidolia – the condition in which one sees faces in patterns and inanimate objects. Sam Moyer's recent series of Payne paintings are compositions that she considers expansive versions of works that first began as drawings. By expanding the amount of surface space in these paintings, Moyer can reflect more closely the physicality of the gestures that go into making them. A large-scale photograph by Frank Thiel depicts the massive glacial ice formations in Argentine Patagonia, exemplifying Thiel's trademark eye for detail and composition, and his painterly sense of abstracted texture. New paintings by Janaina Tschäpe illustrate dreamlike abstract landscapes that blur perceptions of illusion and reality, while Wu Chi-Tsung's cyano-collages replace the traditional ink and brush used in Chinese shan shui paintings with experimental photography to reinvigorate the language of traditional landscape painting.


For more information on the gallery and artists please visit skny.com

For all inquiries, please contact the gallery at info@skny.com

For more information on the fair, including hours and ticketing information, please visit frieze.com