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    in Exhibitions

    Check Out Artnet Gallery Network’s Virtual Exhibition at 50 United Nations Plaza’s Stunning Duplex Penthouse

    Located at New York’s iconic United Nations Plaza, the 50 United Nations Plaza (“50UNP”) duplex penthouse balances grandeur with gallery-like precision, making it a jaw-dropping setting for world-class artworks. In this one-of-a-kind space, stunning floor-to-ceiling bay windows showcase the sprawling metropolis outside, while the refined interior—designed by famed architects Foster + Partners—offers a serene, even meditative response. 
    Now, the Artnet Gallery Network has curated a virtual exhibition that takes inspiration from the residence’s unique features. One finds the harmony of natural elements in features like the glass-enclosed fireplace, distinctive oak details, and the 33-foot infinity-edge pool. The artworks selected by the Artnet Gallery Network are meant to emphasize the architectural details of this 9,700 square foot space. The duplex’s soaring ceilings, which rise up to 13-feet are particularly suited to large-scale sculptures—a rare asset for any collector. 
    Emerging artist Patrick Hurst’s stainless steel sculpture The Mind of Others presents an evocative, seemingly gravity-defining silhouette at the center of the spacious living room which spans the entire 73-foot east face of the building, with unobstructed views of the river and beyond. In addition to its grand living and dining areas, the lower floor includes a state-of-the-art kitchen with generous counter and storage space, as well as two guest bedrooms and a private terrace facing the Manhattan skyline. A curved oak and stainless steel staircase leads upstairs to the half-floor master suite, ipe wood deck and pool, and separate guest bedroom and entertainment room with an adjoining kitchen. 
    Dale Enochs, Postindustrial Mandala. Courtesy of Long-Sharp Gallery.
    An introspective centerpiece in the expansive entertainment room, Dale Enochs’s Postindustrial Mandala casts a captivating circle of light that in cooler months will echo the room’s electric fireplace and overlook the private outdoor pool year-round. 
    Ferruccio Gard, Untitled. Courtesy of Cris Contini Contemporary.Ferruccio Gard, Effetto Colore in Op Art. Courtesy of Cris Contini Contemporary.
    Two of Ferruccio Gard’s uplighting op-art creations add pops of color and geometry to the room. Across from the entertainment room is the master lounge, part of the half-floor master suite, which allows for more secluded relaxation and access to the pool.  
    Kim Jaeil, Vestige. Courtesy of Sundaram Tagore Gallery.
    Jeffrey Robb, FL-KM12941336. Courtesy of Cris Contini Contemporary.
    In a spacious second-floor guest bedroom, Kim Jaeil’s Vestige (Space Silver) offers a fascinatingly textured work that captures the eye almost as much as the views of the Empire State and Chrysler buildings. Jeremy Robb’s Rorschach Flower, too, offers a reflective space to pause and contemplate in the master bedroom suite.
    Anila Quayyumb, Hidden Diamond – Saffron. Courtesy of Sundaram Tagore Gallery.
    Meanwhile, in the intimate space of the guest bedroom with northwest views, Pakistani artist Anila Quayyum Agha’s hanging sculpture Hidden Diamond fills the interior with dynamic shadows and lights that mimic the effect of sunset between the city buildings.
    Nic Fiddian-Green, Still Water. Courtesy of Sladmore Gallery, London.
    Moving out onto the second terrace, a moment of pause is offered in Nic Fiddian-Green’s towering Still Water (2016) a monumental equestrian bust that defies the buzzing motion of the city beyond with its powerful sense of serenity.
    These artworks draw out the careful details of the 50UNP duplex penthouse, which are rare in new construction. The thought given to the space is in many ways tied to the residence’s history; 50UNP has been spearheaded by third-generation developers William Lie Zeckendorf and Arthur Zeckendorf. The Zeckendorfs’ grandfather, William Zeckendorf Sr., first purchased 17 acres of land along New York’s East Rivers in 1946 and offered the space home for the United Nations in a deal supported by the Rockefeller family. Sixty years later, his grandsons purchased the property directly across from the United Nations, which they have developed in homage to their grandfather (and to note, their maternal grandfather, Trygve Lie was the first Secretary-General of the United Nations). This spectacular duplex penthouse is a tribute to their family legacy and a place where artwork thrives.
    This one of a kind indoor/outdoor space is available for immediate occupancy and provides a perfect balance for today’s work at home lifestyle.  For more information about this stunning property, please visit 50UNP.com and contact the Sales Office to schedule a private tour.

    [email protected]
    212.906.0550G-Z/10 UNP Realty, LLCSee additional images of the breathtaking duplex below. 
    The floor-to-ceiling windows create the sensation of being within the sky itself.
    Four master-sized bedrooms allow ample space for luxurious living and home offices with uninterrupted skyline views.
    The majestic, 33-foot infinity pool with unparalleled outdoor space.
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

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    in Street Art

    “The Calm” by David de la Mano in Valencia, Spain

    Spanish street artist David de la Mano just finished working on his latest mural in Torrent, Valencia. His work entitled “The Calm” depicts a great whale with a silhouette of people riding on its back in David de la Mano’s signature monochromatic imagery. The mural was painted in collaboration with artist Pablo S. Herrero.“The great whale carries a human group on it. Its passengers don’t know where they are going. Some of them trust the wisdom of an ancient being who knows the territory, others travel with the suspicion that the whale doesn’t know what her path is either. Some of them believe that the environment in which they are in can be deciphered, perhaps by others. They intuit that there were those who interpreted it before. One part of the group only distinguishes a bitter feeling of loss. They all carry something important in their hands. Everyone keep calm.”David de la Mano is known for his large dystopian murals featuring human and animal silhouettes and minimalist style. He creates distinctive artworks which are symbolic reflections on humankind and reminiscent of dark fairytales. The single anthropomorphic figures of the artist gather together and unite in an eternal and recurring movement; the individuals become the mass and vice versa, and they are driven by their dreams, ambitions, fears, vices, hopes, and internal conflicts.Take a look below for more photos of “The Calm” and stay tuned with us for more updates on David de la Mano and the international street art scene. More

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    in Street Art

    Clown Skateboards – Final Manifesto Drop!

    Clown skateboards have just dropped the final release of decks in their ‘Manifesto’ series. In their words, via an Instagram announcement, they put out the following statement:‘We love our manifesto and what it meant to us. However, this drop of manifestos will be the end of the “here to finish what we started” run… We decided upfront that this will be the final run of manifesto’s as we have been back for a minute now and have new goals we want to fulfil.’This marks the close of another chapter in the Clown story, but for anyone following along so far, you know that it’s far from over. One of the key goals for Clown when they decided on their return, around 15 years after they shut down their doors back in the early noughties, was that they were aiming for a carbon neutral operation. They aren’t quite up to speed yet, but this is the main focus of the next act, as they explain below:‘It was obvious we weren’t going to be a fast fashion, why the fuck would you want to! Waste of ink, cloth and packaging brands that don’t understand all the various steps of the value chain and more importantly the side effects of production is a place we do not want to be in. So, we picked makers that had a lower impact, we deliberately picked printing methods that used lower discharge and packaging that was compostable at least. To date on all our apparel we can honestly say that:78% (“So not 100% perfect, but 100% on the way there”) of it is made using renewable energy100% is made using organic or recycled fibers100% comes from places that do look after the people that make it and pay them properly (that shit matters).All our clothing packing is FSC, locally manufactured, recyclable or compostable and none of it has the characteristics of a plastic bag as when that shit hits the ocean and yes 10% of all bags do – who knows why. It does break down after 2 years but in the process, it chokes marine life, we have all seen the photos…We don’t just leave it there as we also carry this over in our boards with all wood coming from forest conservations areas that maintain biodiversity in nature, all waste 100% recycled and glues that are not going to make those pressing our boards to be ill in a few years and then dump all that into our waterways. We don’t shrink wrap and all the bags we do use are made from recyclable material and can be recycled again.Obviously, these things have a cost attached to them but better than costing the earth, right? But that cost is on us, your agreement when buying Clown stuff is to wear the fuck out of it then up-cycle it or hand it on. If you buy to waste, please don’t buy from us.Two new tee drops include a triple pack of tees, and the ‘Mr Ed’ tee joins the Clown OG design, which returns for a ‘Flashlite’ special. Based around the idea of the funk band Parliament, who used to shine flashlites (aka torches, if you’re British) into the crown to shine a light on people who had found the funk. Flipping the idea into the 21st century, Clown are shining the light back on the people who support them – without you, they say, ‘we’re in the dark’.Both tee drops are part of the Clown “one of 120 products”, which means they will make 120 of these bad boys, with 20 going out to clown team members and the rest up for grabs. Fully vegan, organic, and made by people that don’t work in a sweatshop and get paid properly. Happy days.www.instagram.com/clown_skateboardswww.clownskateboards.com/shop More

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    in Street Art

    Yellowpop x Keith Haring Neon Art

    In honor of the cultural iconoclast Keith Haring, Yellowpop has partnered with the late artist’s Foundation to create a collection of signs that pull inspiration from Haring’s powerful imagery and highlight his devotion to creating art that’s meant for all, not just the select few. The announcement of this collaboration also coincides with the opening of the Global home design brand’s first US-based pop-up retail experience located in Keith’s old stomping grounds of SoHo in New York City.The artistic collaboration brings forth eight exclusive LED neon signs bearing symbology that’s reminiscent of Haring’s signature graffiti and drawings from the 80s and 90s that still ring true today. With pieces like the barking dog sign, radiant baby, and “LOVE” sign with Haring’s signature heart, the collection is inspired by a shared spirit of creativity and designed to spark inspiration at every turn.“Collaborating with the Keith Haring Foundation to create this collection has been a dream come true for all of us here at Yellowpop,” said Jeremy Cortial and Ruben Grigri, co-founders of Yellowpop. “Keith’s testament to creating art that’s accessible to all aligns exactly with our brand mission to bring inspiration and creativity into the world.”“It’s no secret that Keith had an affinity for different mediums that helped his art resonate with a broader group of people,” Gil Vazquez, Acting Director of the Keith Haring Studio said. “We think he would have put his full support behind a collaboration like this one with Yellowpop.”The Yellowpop x Keith Haring collection of LED neon signs are available for purchase on October 14 online at yellowpop.com and in New York City and Yellowpop’s first US retail activation, located at 33 Spring Street, New York, NY. Open from October 14 through the holiday season, the store will offer a glimpse into the Yellowpop universe with the newest brand collaborations as well as a neon sign customization lounge to create your own sign from scratch.Prices for the Keith Haring x Yellowpop collection start at $290.To view more info: Check out @Yellowpop | #YPxKeithHaring @KeithHaringFoundation @artestarnycThis partnership was created in collaboration with Artestar, a global licensing agency and creative consultancy representing high-profile artists, photographers, designers, and creatives.Yellowpop is a home decor brand that’s on a mission to change the way we decorate our homes. Instead of simply filling it with commodities, we want to inspire our community to think more about design and the role our products play in their lives. It’s your home. The objects inside of it should be a reflection of you. Our LED neon signs are designed to inspire boldness and bring joy. They speak to each person differently, and we love them because of the way they make us feel. At Yellowpop, our values are simple: Be bold, be bright, have fun. We believe everyone should have the chance to brighten their day with a neon sign. And we’re sharing the joy, one neon sign at a time. Together, with the global art and design community, we’re using the power of art to make the world a brighter place.Take a look below for more photos of the collaboration. More

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    in Street Art

    “What is Home?” by Asbestos in Cork, Ireland

    This new mural by Asbestos in Cork, Ireland is part of the Ardu Street Art festival featuring Friz, Asbestos, Conor Harrington, and Shane O’Malley.The giant gable end mural by Asbestos challenges the passerby to think about ‘What is Home?’  Do you have one, is it safe, can you afford it? Never as a country has our sense of what home means been more at threat.“I painted this figure wearing a cardboard box on his head to start a conversation with the public about what home means to them. As a country we are currently in an existential crisis over housing and our need to put a roof over our heads. There’s a fear and uncertainly about finding a safe space, and the system seems to be stacked in favour of the landlords” said Asbestos.The figure wearing the box is the artist himself, but a fictional version of him who is looking at the world with a naive view point. So each of his masks, or personas is a character that’s asking a different question. In this case “What is Home?”Home isn’t simply about where you were born, it’s where you feel you belong, where you feel safe, where you’re welcomed, where you can come back to and feel accepted, loved and part of a community. We seem to have lost sight of this recently because we’re so concerned about rent, mortgages or even having a home.Painted over 8 days in the sunshine and rain, it was wonderful to speak to so many curious Corkonians about the mural. The support has been amazing from the public and my friends and family here, Cork definitely felt like my home for a week.Asbestos is an Irish artist who’s been creating work on the street in a variety of media since 2003.  His portraits explore the concept of identity that are a conversation with two versions of his persona. “Each mask portrays two versions of myself, one alive and one dead. The dead version is a fictional character that represents me, if I’d been killed in a car bomb”. The bomb he refers to was a real one that went off in Dublin 46 days before he was born, 5 minutes after his mother walked past it. “I’ve always been fascinated about the fact that I may never have existed.” So each portrait is created by two versions of his persona combining photorealism and abstract naive strokes.Scroll down below to view more photos of the mural. More

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    in Street Art

    Ardú Street Art in Cork, Ireland

    Ardú Street Art project returned to Cork city this month with some of the country’s most exciting street artists to brighten up the city’s streets. Commissioning artwork from home grown talent of the highest level is the main aim of Ardú, a street art project launched late last year, supported by Cork City Council and Creative Ireland, with paint generously sponsored by Pat McDonnell Paints.This year’s edition features four large-scale murals, three of which are now complete, with the final wall to be finished over the coming days. First to be revealed is a depiction of the Goddess Clíodhna, by Northern Ireland based artist Friz, at St. Finbarr’s Road, Cork.Sligo born artist Friz pictured at her mural at St. Finbarr’s Road, Cork, as part of Ardú Street Project 2021.Friz’s mural is a depiction of the Goddess Clíodhna, her style was inspired by the Honan Chapel’s mosaics and Harry Clarke stained glass. Ardú continues until October 15th, with three more large scale murals by Shane O’Malley, Conor Harrington, and Asbestos. Twitter/Instagram @ArduStreetArt / Photograph by Jed NiezgodaSpeaking about her mural, Friz introduces Clíodhna, “a celtic deity who, in some stories, is the patron of Cork. She was the daughter of the sea god Manannan Mac Lir and thus is associated with the sea also. Some tales say she has three songbirds who accompany her, and when they sing it lulls people to sleep. When they wake, they are healed of any ailments they had.The Ardú team pictured at Cork’s newest mural at St. Finbarr’s Road by Sligo born artist Friz, created as part of Ardú Street Project 2021. L-R: Shane O’Driscoll, Rose-Anne Kidney, Paul Gleeson, Louise Barker, Friz, & Peter Martin.Ardú continues until October 15th, with three more large scale murals by Shane O’Malley, Conor Harrington, and Asbestos. Twitter/Instagram @ArduStreetArt / Photograph by Jed Niezgoda – www.jedniezgoda.comSome versions say the birds eat from a magical apple tree, others that Clíodhna tended to these trees. It put me in mind of Idunn’s apples from Norse mythology. It’s amazing how many of our collective stories have counterparts in other cultures. Nine apples, as that number is sometimes associated with her.She fell in love with a mortal and upon falling asleep near the shore one day her father sent a wave to carry her home. In some versions she is drowned. There is a subtle tear in her eye. She is said to be the Queen of the banshees, and I wanted to represent a small nod to that without going down a stereotypical Halloween version of a banshee.When researching, local artist and Ardú organiser Peter Martin brought the Honan chapel at UCC to my attention. It is home to some stunning Harry Clarke stained glass windows as well as a divine mosaic floor. I used Clarke’s Saint Gobnait window as inspiration for my design.”Pictured:A new mural by Dublin artist Asbestos, created for Ardú 2021, South Main Street, Cork. The giant gable end mural challenges the passerby to think about ‘What is Home?’ Do you have one, is it safe, can you afford it? Never as a country has our sense of what home means been more at threat. Ardú Street Art project returned to Cork city this month, commissioning artwork from home grown talent of the highest level. Supported by Cork City Council and Creative Ireland, with paint sponsored by Pat McDonnell Paints.This year’s edition features four large-scale murals: Friz at St Finbarr’s Road, Shane O’Malley at Lower Glanmire Road/Horgan’s Quay, Conor Harrington at Bishop Lucey Park (WIP), and Asbestos at South Main Street. For more see Twitter/Instagram: @ArduStreetArtPhoto credit: Artist AsbestosIf you take a walk down from Friz’s wall, towards the city centre, you’ll find “What is home?” by Dublin artist Asbestos. The giant gable end mural challenges the passerby to think about ‘What is Home?’  Do you have one, is it safe, can you afford it? Never as a country has our sense of what home means been more at threat… “I painted this figure wearing a cardboard box on his head to start a conversation with the public about what home means to them. As a country we are currently in an existential crisis over housing and our need to put a roof over our heads. There’s a fear and uncertainty about finding a safe space, and the system seems to be stacked in favour of the landlords.Pictured:A new mural by Dublin artist Asbestos, created for Ardú 2021, South Main Street, Cork. The giant gable end mural challenges the passerby to think about ‘What is Home?’ Do you have one, is it safe, can you afford it? Never as a country has our sense of what home means been more at threat. Ardú Street Art project returned to Cork city this month, commissioning artwork from home grown talent of the highest level. Supported by Cork City Council and Creative Ireland, with paint sponsored by Pat McDonnell Paints.This year’s edition features four large-scale murals: Friz at St Finbarr’s Road, Shane O’Malley at Lower Glanmire Road/Horgan’s Quay, Conor Harrington at Bishop Lucey Park (WIP), and Asbestos at South Main Street. For more see Twitter/Instagram: @ArduStreetArtPhoto credit: Artist AsbestosThe figure wearing the box is me, but a fictional version of myself who’s looking at the world with a naive viewpoint. So each of my masks, or personas is a character that’s asking a different question. In this case ‘What is Home?’ Home isn’t simply about where you were born, it’s where you feel you belong, where you feel safe, where you’re welcomed, where you can come back to and feel accepted, loved and part of a community. We seem to have lost sight of this recently because we’re so concerned about rent, mortgages or even having a home. Painted over 8 days in the sunshine and rain, it was wonderful to speak to so many curious Corkonians about the mural. The support has been amazing from the public and my friends and family here, Cork definitely felt like my home for a week.”Ardú Street Art Initiative 2021 – Shane O’Maley at his mural / Photograph by Jed Niezgoda – www.jedniezgoda.comAcross Leeside, on the Lower Glanmire Road/Horgan’s Quay, find the third mural by Navan-born artist Shane O’Malley. Describing his mural, Shane says:Pictured: Cyclist and passenger at Shane O’Malley new mural on the Lower Glanmire Rd, Cork, for Ardú 2021.Ardú Street Art project returned to Cork city this month, commissioning artwork from home grown talent of the highest level. Supported by Cork City Council and Creative Ireland, with paint sponsored by Pat McDonnell Paints.This year’s edition features four large-scale murals: Friz at St Finbarr’s Road, Shane O’Malley at Lower Glanmire Road/Horgan’s Quay, Conor Harrington at Bishop Lucey Park (WIP), and Asbestos at South Main Street. For more see Twitter/Instagram: @ArduStreetArtPhotographer John Beasley“The mural for Ardú street art festival explores Movement. I was drawn to the way the mural is experienced. The majority of people passing the mural would only see it for about 5 seconds. It is located at a busy junction entering Cork city, where traffic flows past the wall. People also walk past the wall and cross the road using 2 pedestrian crossings while a train line passes near the wall. Ardú Street Art Initiative 2021 – Shane O’Maley at his mural / Photograph by Jed Niezgoda – www.jedniezgoda.comThe mural is made of bright coloured angular shapes and interconnected circles that follow the over-under pattern found in Celtic Knotwork. This creates dynamic flow lines throughout the wall, so the mural feels like its got movement and is in motion. I added an anamorphic circle at the corner of the wall that is experienced when passing the mural on foot or in traffic. I wanted to create a piece which is impactful and bright, that would transform the area and visually improve people’s commute to the city.”Pictured: Renowned Cork born artist Conor Harrington working on a new mural at Bishop Lucey Park, Cork, as part of Ardú 2021.Ardú Street Art project returned to Cork city this month, commissioning artwork from home grown talent of the highest level. Supported by Cork City Council and Creative Ireland, with paint sponsored by Pat McDonnell Paints.This year’s edition features four large-scale murals: Friz at St Finbarr’s Road, Shane O’Malley at Lower Glanmire Road/Horgan’s Quay, Conor Harrington at Bishop Lucey Park (WIP), and Asbestos at South Main Street. For more see Twitter/Instagram: @ArduStreetArtPhoto credit John BeasleyThe fourth and final wall for Ardú 2021 is work in progress, currently being painted by Cork-born artist Conor Harrington, at Bishop Lucey Park (Grand Parade entrance). Conor will be working throughout this week, members of the public are encouraged to come and watch as his piece comes to life. Based in London since the mid 2000s, Harrington has created street art in New York, Miami, Paris, London, Warsaw, Copenhagen, Aalborg, Mallorca, Sao Paulo, San Juan, and the Bethlehem Wall; this is Conor’s first large-scale mural in his hometown. Pictured: Renowned Cork born artist Conor Harrington working on a new mural at Bishop Lucey Park, Cork, as part of Ardú 2021.Ardú Street Art project returned to Cork city this month, commissioning artwork from home grown talent of the highest level. Supported by Cork City Council and Creative Ireland, with paint sponsored by Pat McDonnell Paints.This year’s edition features four large-scale murals: Friz at St Finbarr’s Road, Shane O’Malley at Lower Glanmire Road/Horgan’s Quay, Conor Harrington at Bishop Lucey Park (WIP), and Asbestos at South Main Street. For more see Twitter/Instagram: @ArduStreetArtPhoto credit John Beasley More

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    in Exhibitions

    ‘You Have to Experience It in the Radical Present’: How Anicka Yi’s Ultra-Sensorial Tate Commission Resists the Age of Instagram Art

    In the aftermath of Kara Walker’s monumental fountain, Carsten Holler’s playground of slides, and Olafur Eliasson’s unforgettable indoor weather project, I had certain expectations for Tate Modern’s latest Turbine Hall commission, which opened yesterday. But the U.S. artist Anicka Yi, who has been tapped for the annual project, has a more subtle flavor than her noisier predecessors.
    A squeal of delight in the audience directed my attention upwards to the bridge across the cavernous room where a fleet of jellyfish-like balloons floated close to the ceiling. For her installation, Yi has invented these hybrid biological and technological creatures called aerobes, which are classified either as “xeno-jellies” whose forms have been inspired by ocean lifeforms or “planulae,” from different types of mushrooms.
    Filled with helium and propelled around the room by rotors, they look like they come from an alien planet but are more benign than H.G. Wells’s tripod creatures. As I drew closer, I realized that they were emitting a faintly pleasant aroma; one floated above me and performed a gentle twirl.
    Installation view of Hyundai Commission Anicka Yi at Tate Modern, October 2021. Photo by Will Burrard Lucas.
    The installation is rooted in the artist’s ongoing interest in shifting the relationship between technology, humans, and the biological world. It proposes a different kind of ecosystem: Her floating creatures imagine new ways that machines could inhabit the world alongside humans, rather than the traditional understanding that they function to serve humans, or work against us in some dystopian capacity.
    “I wanted to open up that dialectic and expand the conversation;” Yi said in a press conference at the unveiling of the work. “Machines don’t necessarily have to serve us or scare us in order to coexist with us.”
    Taking this idea as her starting point, Yi explained how she started to think about the concept of “wilding” machines; eliminating their functionality, and asking what it would look like to live with them then. Inspired by how organisms learn through their bodies and senses, as well as technological advances within the field of soft robotics, Yi endowed the aerobes with a sort of sensory intelligence. They respond to information, including the scents of the building, sources of heat, and an awareness of their place in space relative to each other. 
    Once raised in the air, they are completely autonomous, driven by this artificial life program—a software that can be likened to the mind—that simulates and seeks to understand complex biological behaviors. Their unpredictable movements imbue them with a sense of life; the squeal of delight I had heard was a child reacting to them as animals and not machines.
    Anicka Yi, “In Love With the World,” Hyundai Commission, Tate Modern. Photo by Joe Humphrys, courtesy Tate.
    The sensorial element to the installation also resists the ability to be captured on Instagram. It has an evolving scentscape that you have to physically take into your body to experience, part of a genre that Yi called “metabolic” art. 
    “You have to experience it in the radical present, in your body and mind as one,” she said. The changing odors emitted around the aerobes have been inspired by different eras of the surrounding Bankside area, from marine scents related to pre-human era to the spices thought to ward off the black death in the 14th century to smells from London’s industrial age.
    The scents are subtle and offer up no clear illustrative associations. When I was there, there was was a faintly spicy, not unpleasant, smell of patchouli. When asked what was intended to evoke, Yi informed us wryly that the inspiration was cholera. It’s intentionally a surprise as Yi aims to expand our relationship to smell. We expect to instantly recognize something and categorize it as good or bad, but these confusing scents are not straightforward; they ask you to heighten your awareness, and breathe deeply.
    “Yi has worked with smell and scent for a long time, and partly in terms of questioning the primacy of the visual, and the visual as principally male, rational, industrial, technocratic, and Western,”  the exhibition’s co-curator Achim Borchardt-Hume told Artnet News. “Whereas our experience of the world encompasses all the senses.”
    Installation view of Hyundai Commission “Anicka Yi: In Love With the World” at Tate Modern, October 2021. Photo by Will Burrard Lucas.
    The artist is also interested in the politics of air, in how scent can alter your perception of space, and make you aware of the air around you in ways that you weren’t before. Indeed, as I experience the same awareness of the odors and gasses in a room, and the potential risks they carry, I was instantly more aware that I was sharing the air with others.
    “Engaging with the air, especially in the age of Covid, it’s an especially rich material to unpack,” Yi said. She wanted to foreground the olfactive questions with the pandemic and to really underscore the air that we’re sharing. Indeed, questions of how how we inhabit the world, climate emergency, and coexistence between humans and other species, have taken on a whole new importance over the past two years. Many people who got sick actually lost their sense of smell; I was one of them, and I don’t think I ever fully appreciated how crucial it was to my experience of the world—from determining if something was burning to recalling past experiences—until I lost it.
    “Air is this charged site for social discourse, and with the pandemic and climate crisis it is this substrate that ties us all in this very symbiotic coexistence that we cannot escape,” she said. “We are all these vessels of interdependence and we have a responsibility toward each other.”
    And that’s what the Turbine Hall commission has always done: brought people together. The show places Yi in dialogue with the works before her, such as Superflex’s three-man swings that required people to work together to enjoy them. So, too, does her work underscore how we—as either biological or technological entities—are all in this together.
    “Anicka Yi: In Love With the World” is on view at Tate Modern through January 16.
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    in Exhibitions

    9 Gallery Shows to See in London During Frieze Week, From a Ron Mueck Retrospective to a Motley Crew of Ominous Skeletons

    It’s Frieze week in London, and ahead of the fairs opening to VIPs tomorrow, here’s our pick of what’s on view beyond The Regent’s Park across a selection of galleries in London.

    Elizabeth NeelPilar CorriasThrough October 23
    Installation view, Elizabeth Neel, “Limb after Limb,” at Pilar Corrias. Photo: Mark Blower. Courtesy of the artist and Pilar Corrias, London.
    In “Limb after Limb,” Elizabeth Neel presents a new body of work made in isolation on her family’s farm in rural Vermont. The large-scale paintings on canvas echo the natural environment and the physical and psychological tolls of isolation through a process of abstraction. Also on view is a short documentary about the artist by her brother, Andrew Neel, which explores her practice and fraught experience living as an artist within the legacy of her grandmother, Alice Neel.
    “Limb after Limb” is on view at 2 Savile Row, London, W1S 3PA.
    Simeon BarclayWorkplaceThrough October 29
    Installation view, Simeon Barclay, “England’s Lost Camelot,” at Workplace.Courtesy of the artist and Workplace, London.
    The U.K. artist Simeon Barclay has created new multimedia works and an installation for “England’s Lost Camelot,” on view at Workplace’s West End gallery. Taking its cue from Arthurian legends and the persistence of the figure of the gallant knight in British folklore and iconography, he follows this medieval legend through popular culture as well as his own personal biography, unpacking how these tropes play a role in determining notions of class, race, and gender.
    “Simeon Barclay: England’s Lost Camelot” is on view at 40 Margaret Street, London, W1G 0JH.
    Ösgür KarEmalinThrough November 10
    Özgür Kar, Death with flute (2021). Photo: Stephen James. © Özgür Kar, courtesy of the artist and Emalin, London.
    In “Storage Drama,” his first solo outing with Emalin, Turkish artist Özgür Kar presents three of his eerie “Death” sculptures, minimally animated drawings of musically inclined skeletons that ruminate on the nature of existence with humor and heft. There’s a timelessness to the anxiety expressed, evoking at once medieval manuscripts and plague traditions, but also the banal phrases of online exchanges and our contemporary moment of global disease. Scored by improvised woodwind riffs on an ominous tritone known as the “Devil’s Interval,” viewers might find themselves in a bit of a trance. As one of Kar’s characters puts it: “You either get the vibe or you don’t.”
    “Storage Drama” is on view at 1 Holywell Lane, London, EC2A 3ET.
    Ron MueckThaddaeus RopacThrough November 13
    Ron Mueck, Dead Dad (1996–97). © Ron Mueck, courtesy of Thaddaeus Ropac, London, Paris, Salzburg, and Seoul.
    Spanning 25 years of Ron Mueck’s career, this historical exhibition at Thaddaeus Ropac features some of the Australian sculptor’s most celebrated pieces plus never-before-exhibited works. Mueck’s famous sculpture Dead Dad (1996–97) is on view in the U.K. for the first time since it shocked in the Royal Academy’s storied 1997 “Sensation” exhibition, as is a new, as-yet-unseen cast-iron outdoor sculpture of a skull, Dead Weight (2021), which clocks in at a whopping one tonne. A moving figure of a young Black man with a stab wound, Youth (2009/2011), speaks to the urgency of addressing urban crime. From the small-scale to the monumental, the works on view evoke the gamut of human emotions and experiences.
    “Ron Mueck: 25 Years of Sculpture 1996–2021” is on view at 37 Dover Street, London, W1S 4NJ.
    “Sorry It’s a Mess, We Just Moved In!”LAMB ArtsThrough November 13
    Clara Hastrup, Untitled (Leek) (2021). Courtesy of LAMB Arts, London.
    This lively group exhibition explores everyday objects and the role they play in shaping and holding onto identity, asking whether, in a digital age, the physical carries more significance, or less. Curated by Roya Sachs, it places blue-chip names such as Christo & Jeanne-Claude, Erwin Wurm, and Isa Genzken in dialogue with works by emerging artists, such as Clara Hastrup’s photographs of “Perishable Sculptures,” to ask how we relate to objects, from throwaway items to functional commodities to treasured tokens of memory.
    “Sorry It’s a Mess, We Just Moved In!” is on view at 32 St. George Street, London, W1S 2EA.
    Noah DavisDavid ZwirnerThrough November 17
    Noah Davis, 40 Acres and a Unicorn (2007). © The Estate of Noah Davis, courtesy of the Estate of Noah Davis and David Zwirner.
    Curator Helen Molesworth has selected works by the late U.S. artist Noah Davis that span his brief but bright career for the first presentation of the artist’s dreamlike, figurative paintings in the U.K. The show is a follow-up to an acclaimed exhibition at David Zwirner in New York in January 2020, and while there are some repeats, most of the works on view will be different. Significantly, the London edition imports a version of the artist’s ambitious social-practice project, the Underground Museum, installed in the gallery’s upper level. Headquartered in an underserved Black and Latinx neighborhood in Los Angeles, the initiative is a Black-owned and -run art space that shows museum-quality work. Highlighting the importance to Davis of community, the show includes a sculpture by the artist’s widow, Karon Davis, and the film BLKNWS, by his brother, Kahlil Joseph, famed in his own right.
    “Noah Davis” is on view at 24 Grafton Street, London, W1S 4EZ.
    Issy Wood Carlos/IshikawaThrough November 20
    Issy Wood, The sides (2021). © Issy Wood. Courtesy of the artist; Carlos/Ishikawa, London; and JTT, New York.
    The young painting sensation Issy Wood’s exhibition “Trilemma” at Carlos/Ishikawa will scratch your brain—and not just because all the paintings are on velvet. The artist created this series of ‘depression’ paintings during lockdown in response to her contracted surroundings, and in works based on snippets of screenshots from the films and TV shows she was watching, there is an eerie sense of nostalgia for a world that once was. The show also includes a foray into installation with a suite of painted, velvet-upholstered Carlo Scarpa furniture entitled What if you showed up (2021) installed in the middle of the gallery.
    “Issy Wood: Trilemma” is on view at Unit 4, 88 Mile End Road, London, E1 4UN.

    “Social Works II”GagosianThrough December 18
    Installation view, “Social Works II,” at Gagosian Grosvenor Hill, London. Courtesy Gagosian.
    This group exhibition on view at the gallery’s Grosvenor Hill location is the sequel to recently-appointed director and curator Antwaun Sargent’s inaugural show at Gagosian in New York. It places front and center artists of the African diaspora whose projects extend beyond the walls of the gallery and into social practice. From architect Sumayya Vally’s wall fragment that functions as a site for research and ritual to historical collages by Black Arts Movement pioneer (and Turner Prize–winner) Lubaina Himid, the exhibition probes the ways that geography informs identity and perception in different communities and spaces.
    “Social Works II” is on view at 20 Grosvenor Hill, London, W1K 3QD.

    A.A. MurakamiSuperblueThrough Summer 2022
    New Spring (2017). Photo: Juriaan Booij. Courtesy of COS x Studio Swine.
    The Tokyo- and London-based duo A.A. Murakami—made up of Azusa Murakami and Alexander Groves from Studio Swine—has been tapped to debut Superblue in London, following the global launch of the experiential art powerhouse in Miami in May.
    For “Silent Fall”—on view at Pace’s former Burlington Gardens space—the pair is presenting a new, Instagram-friendly multi-sensory experience that immerses audiences in a seemingly infinite forest of glowing trees. Their branches emit misty bubbles, which unleash different scents of nature, from pine to moss, when they burst. It’s part of the artists’ “ephemeral tech” installations, which use sophisticated technology to recreate organic experiences, and offers a glimpse of a future world in which we are trying to recreate a sense of the sublime in a nature that is lost.
    “Silent Fall” is on view at 6 Burlington Gardens, London, W1J 0PE.
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