Sales are good, tickets are selling out, events are full, and the sun is shining—although a brief shower is forecast for midday Sunday—so the inaugural edition of Frieze Los Angeles should be followed by many more.
We hope Felix returns, too. Co-founded by Morán Morán brothers Al and Mills and collector Dean Valentine, it’s an intimate fair headquartered in Hollywood.
When you’re out on the Paramount studio backlot in the Frieze Projects section, stop by the Sqirl/Acid-Free space for Sqirl Away to-go items from the Los Feliz restaurant as well as a selection of art books and periodicals, including Liz Craft’s …my life in the sunshine—published by DoPePress—and the new print issue of PARISLA.
FRIEZE LOS ANGELES
Through Sunday, February 17.
Paramount Pictures Studios
5515 Melrose Avenue, Los Angeles.
From top: Ken Price, Return to LA, 1990, courtesy the artist and Matthew Marks (Frieze LosAngeles); Florian Morlat, collage, courtesy of the artist and The Pit (Frieze Los Angeles); JessiReaves installation at Felix, courtesy the artist and Bridget Donahue, New York; KristenMorgin, Jennifer Aniston’s Used Book Sale (detail), ceramic, courtesy the artist and Marc Selwyn Fine Art (Felix); David Hockney, Peter Showering, 1976, C print, courtesy the artist and MatthewMarks (Frieze Los Angeles); Nan Goldin, Blue, 2016, courtesy the artist and Marian Goodman (Frieze Los Angeles).
“I have a very simple mantra and it’s this: I want to make black cinema with the power, beauty, and alienation of black music… The larger preoccupation is how do we force cinema to respond to the existential, political, and spiritual dimensions of who we are as a people.” — Arthur Jafa
To open his new exhibition in Berkeley—ARTHUR JAFA/MATRIX 272, which features a new work The White Album (above)—Jafa will be joined by Stephen Best for a conversation about the politics of aesthetics and the turn toward “Afropessimism.”
“There’s just a certain genius to accompaniment, how you actually support other people being expressive, and that’s the jazz thing again. I keep coming back to that: listening and responding, but responding in a way where you still allow the person a certain kind of platform. To a certain degree it goes into this whole space that I circle back on so often, this “usher” work. How do you function as a platform for other people’s expression or articulation, which I think everybody’s sort of doing all the time in jazz. They cede the floor to one another. So I always definitely saw DREAMSARE COLDER THAN DEATH as usher work. It was always about creating a platform for black folks—as I say, uncommon black folks—and for specialists to voice their feelings about where they were but ostensibly where we are, collectively.” — Arthur Jafa*
As part of the MOCA exhibition ARTHUR JAFA:LOVE IS THE MESSAGE, THE MESSAGE IS DEATH, curated by Helen Molesworth, the museum and Los Angeles Film Forum at MOCA present a screening of Jafa’s 2013 documentary DREAMSARE COLDER THAN DEATH. The film will be introduced by Saidiya Hartman, Professor of English and Comparative Literature at Columbia University, who will participate in a post-screening Q & A.
ARTHUR JAFA: DREAMS ARE COLDER THAN DEATH, Thursday, May 11, at 7 pm.
THE GEFFEN CONTEMPORARY AT MOCA, 152 North Central Avenue, Little Tokyo, Los Angeles.
Jafa’s first solo show in London will open next month at the Serpentine Sackler Gallery. ARTHUR JAFA: A SERIES OF UTTERLYIMPROBABLE, YET EXTRAORDINARY RENDITIONS, curated by Amira Gad, “will take the form of a site-specific installation at the Serpentine Sackler Gallery, while also expanding beyond the gallery to the peripheries of the city with a series of performances, screenings, and events in venues or areas of London that function for Jafa as ‘black sites.’ ”*
ARTHUR JAFA: A SERIES OF UTTERLYIMPROBABLE, YET EXTRAORDINARY RENDITIONS, June 8 through September 10
SERPENTINE SACKLER GALLERY, West Carriage Drive, London