Olafur Eliasson: Your light spectrum and presence installation view at Tanya Bonakdar gallery

As Los Angeles gets ready to launch this year’s edition of Frieze, our Contributing Editor Sophie Neuendorf shares her must-see exhibitions and events happening around the city

Sophie Neuendorf

I have a special fondness for Los Angeles and not just for the sun and sea. My father spent a lot of time in the city. During his days as a gallerist, he travelled to LA to discover fresh talent, many of whom he showed or represented, developing several life-long friendships.

One of those artists was David Hockney, who loaned my father his car when he did his driving test and bought him an ice cream to celebrate. Another life-long friend was Robert Graham, a marvellous Mexican-American sculptor, well-known for not only his art but also his cameos in Wes Anderson movies (not to mention his glamorous wife, the inimitable Anjelica Huston).

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Venice Beach was one of his favourite spots, where his friend the artist Billy Al Bengston still lives and works today. One of Ferus Gallery’s artists, Billy’s unique, ethereal West Coast Pop is unmistakable and continues to inspire many artists and designers. Most recently, he worked with Yves Saint Laurent’s Hedi Slimane on a fashion show.

Artist Billy Al Bengston at work in his studio

Now, as the art world flocks to the city for Frieze, I’ve put together a list of must-see exhibitions, events and projects.

Frieze Los Angeles

This year, Frieze (17 to 20 February) has moved from Paramount Studios to a new location, a tent adjacent to the Beverly Hills Hilton. It will, however, spill out across the city with monumental installations for Frieze Projects, including Mel Bochner’s Street Sign, which you can spot while travelling northbound on Merv Griffin Way across from the fair. The fair also welcomes a new director Christine Messineo and will feature 100 galleries, both local and international with exhibitors from 17 countries. The crowd promises to be nearly as colourful as the works for sale, studded with artists, collectors, celebrities, and fashionistas.

Felix Art Fair

Launched by collector and television mogul Dean Valentine, Felix (17 to 20 February) is a more intimate, edgier alternative to Frieze. Taking place at the Hollywood Roosevelt Hotel, it will feature 60 international galleries, exhibiting in the cabanas alongside the David Hockney-painted pool and in the guest-rooms on floors 10 and 11.

Read more: Michael Xufu Huang on Making Art More Accessible

Womanhouse

Curators Barret Lybbert and Stefano Di Paola are curating a show commemorating the 50th anniversary of Womanhouse, an immersive installation co-organised by Judy Chicago and Miriam Schapiro featuring work by 21 women artists. In the same radical spirit as the original installation, there’s no set artist list and the exhibition will evolve over its duration (18 Feb to 2 April) in an East Hollywood storefront.

Gallery Exhibitions

To coincide with Frieze, Gagosian is showing 10 recent works by Jeff Wall, marking the artist’s first exhibition in Los Angeles in nearly 20 years (on until 26 March 2022). Seven of the photographs were made in LA, where Wall lives and works in addition to his native Vancouver.

Over at Sprüth Magers, a show by artist Lucy Dodd (on until 12 March) is also a must-see while Nino Mier gallery is opening a show by hard-edge painter Georg Karl Pfahler, whose groundbreaking works will also be on view at Simon Lee’s London space this spring (read my interview with Simon Lee here for more info on what to expect).

Manuela restaurant at Hauser & Wirth Los Angeles

If you’re stopping by Hauser & Wirth’s impressive space to see Phyllida Barlow’s exhibition (I highly recommend you do), get in some R&R at their iconic restaurant, aptly named Manuela after the gallery’s co-founder and then pop by Tanya Bonakdar gallery to see Your light spectrum and presence, a solo exhibition by Olafur Eliasson. The show features eleven circular paintings created between 2012 and 2021, demonstrating Eliasson’s long-standing investigation into light, colour and the ways we perceive and interact with our surroundings.

Read more: The Best Art Exhibitions to See in February

It’s always worth a visit to the Getty Center, which is currently showing Poussin and the Dance (until 8 May) in collaboration with London’s National Gallery. The exhibition establishes a dialogue between 17th-century French painter Nicolas Poussin’s dancing pictures and new dance films by Los Angeles-based choreographers.

untitled: skirt i; 2019. © Phyllida Barlow. Courtesy the artist and Hauser & Wirth. Photo: ©2020 Alex Delfanne, All Rights Reserved

End Frieze week on a high note by visiting the absolutely unmissable LACMA exhibition Black American Portraits with work by Kehinde Wiley, Calida Rawles, and Catherine Opie (on until 17 April). Several of the artists in the exhibition will also be showing work at Frieze, albeit at different galleries. Wiley – whose 2018 portrait of former President Obama was also on view at LACMA in a separate exhibition that included Amy Sherald’s portrait of former First Lady Michelle Obama – will be part of Roberts Projects’ group exhibition at Frieze. The gallery will also present an exciting new portrait by Wiley while Rawles’ work will be on view at Various Small Fires’ booth, and Opie will be part of Regen Projects’ Frieze presentation.

Sophie Neuendorf is Vice-President at artnet. Find out more: artnet.com

Georg Karl Pfahler in his studio, 1965

Our contributing editor and columnist Sophie Neuendorf caught up with renowned Mayfair gallerist Simon Lee to discuss the Asian art market, NFTs and the enduring influence of Georg Karl Pfahler

Sophie Neuendorf

Simon Lee has always been at the forefront of artistic movements and changes in taste, showing emerging and established artists that represent the zeitgeist and rapidly gain popularity. Now, he’s presenting the first ever exhibition of German hard-edge painter GK Pfahler (1946-2002) in Asia.

Pfahler’s dogged pursuit of the hard-edge style make him one of the most unique German artists of the last half century. Throughout his career, his work remained steadfastly focused on the interplay of space, shape and colour. At the same time, his paintings contain traces of pop and minimal art, unifying two of the most prevalent styles of the 1960s.

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During his lifetime, Pfahler exhibited alongside artists such as Frank Stella, Ellsworth Kelly, and Kenneth Noland in shows such as “Signale” at the Kunsthalle Basel, Switzerland and  went on to represent Germany alongside Gunther Uecker and Heinz Mack at the Venice Biennale in 1970. In the decades that followed, Pfahler continued to experiment with the constraints and boundaries of painting and today, his work remains more relevant and perhaps, even more cutting-edge than much of the contemporary art being shown and hyped.

Sophie Neuendorf: 2021 has been quite a tumultuous year for most galleries. How do you feel about the changes we have experienced within the art business?
Simon Lee: The pandemic has given rise to some fundamental shifts in the way art is mediated and bought. Online sales have greatly expanded the reach of the art market and we have seen a corresponding shift in taste and commercial success.

Sophie Neuendorf: Recent reports suggest that Asia is a force to be reckoned with in terms of creativity and sales, even post-pandemic. What insights can you reveal from your years of experience in Hong Kong?
Simon Lee: Asia has seen tremendous developments across many industries over recent years and I think that the overall growth in the economy, alongside technological advancements and adaptation has contributed to the flourishing creativity seen in the art world. There has been a huge increase in young collectors and the interest in art of this young and active group of people has risen exponentially as their taste becomes increasingly sophisticated and international. The pandemic inevitably provided people with more time on the internet and social media platforms to discover new artists and experience art in a different way.

Sophie Neuendorf: You’re opening a show of German artist Georg Karl Pfahler in Hong Kong this month. What motivated you to choose a hard-edge painter for Asian collectors?
Simon Lee: It’s very exciting to be presenting Pfahler’s work for the first time in Asia and to introduce him as part of the gallery programme with his inaugural exhibition in the Hong Kong space. The language of abstraction and colour in Pfahler’s work is of historical importance but it also feels very contemporary and is something that Asian collectors engage with well. Pfahler is a very well-known artist in Germany but hasn’t had much exposure in other parts of the world so it’s a privilege to give the opportunity for an Asian audience to discover his work.

Read more: Shiny Surfaces, Lawsuits & Pink Inflatable Rabbits – In Conversation with Jeff Koons

Sophie Neuendorf: Pfahler was, and continues to be, an inspiration for many artists as a pioneering hard-edge painter. When was the first time you experienced one of his works and how does it feel to represent the estate?
Simon Lee: Pfahler’s work has had a lingering presence in my career dating back to the 80s and 90s, when I spent a lot of time in Germany and first discovered his work. Over the years I saw his works pass through auction houses and when the opportunity came along to view his work again, I found them very compelling and relative to the gallery programme. It’s a pleasure to be working with the estate and I’ve been particularly impressed with how organised they are. There are fascinating archival materials and historical documents, which we are excited to share with a wider audience across our platforms and publications.

Sophie Neuendorf: Are you planning a London show of Pfahler as well?
Simon Lee: Yes, we look forward to presenting a more comprehensive survey show next Spring in the London space.

Sophie Neuendorf: If you could juxtapose Pfahler with any two other artists who would you choose?
Simon Lee: Looking at our programme, I would say Angela Bulloch and Sarah Crowner. Pfahler, Bulloch, and Crowner’s practices all present similar investigations into colour, shape and space. There are spatial and architectural elements in all their works. Crowner embraces the idea of painting as object and her works embody the experience of architecture and space both within themselves and their display, especially her tile works that echo Pfahler’s experiments with environments and art, and which embrace the spectator. Bulloch’s work also engages with architecture, colour, and mathematics, her stylised geometry recourse some aspects of Pfahler’s hard-edge sensibility.

Sophie Neuendorf: Richter, Uecker, Mack, Pfahler… Germany is known for producing a plethora of important and popular artists. How do you feel the German market will develop over the near future?
Simon Lee: The German market is constantly evolving. It’s a large nation with many talented artists and many young artists that are gaining a lot of attention. There’s a great tradition of German modern and contemporary art which has transcended national boundaries so I’m sure the market will reflect this. The art market has become truly global, reinforced by digital communication but there are certainly many talented German artists playing a role at the forefront of this market.

Read more: Maryam Eisler’s Spectacular New Photography Exhibition Opens At Linley In London

Sophie Neuendorf: NFTs are all the rage right now. Will you enter the market?
Simon Lee: We’re certainly exploring the opportunities that exist in this sector and market. There seems to be a growing recognition of the fact that NFTs will be a feature of an emerging mainstream market.

Sophie Neuendorf: How do you choose the artists you represent? Is it a gut feeling or more analytical?
Simon Lee: It’s neither one nor the other but a combination of many factors that play a role in selecting our artists. Certain people carry more weight than others with their recommendations but, it’s most important to consider the overall gallery programme and the connection to our other artists. I look at both our established artists and emerging artists to see how their practices and works link together. It’s interesting to me to observe this in artists that are at different points of their career.

Sophie Neuendorf: If you could have dinner with any 3 artists, living or dead, who would you choose and why?
Simon Lee: I’ve dined with many great living artists and sadly some dead ones as well, but of those who I’ve never met and are no longer with us, I would say Leonardo, Michelangelo, and Titian as I love Italian food. Other scenarios would have to include Rothko, de Kooning, and Pollock or Cézanne, Monet, and Kandinsky.

“Georg Karl Pfahler” runs until 8 January 2022 at Simon Lee Hong Kong.

Sophie Neuendorf is Vice President at artnet. Find out more: artnet.com

Installation view of the ‘What’s Up’ exhibition curated by Lawrence Van Hagen in Hong Kong

Lawrence Van Hagen set out to start a travel tech company, and somewhere along the way, ended up curating a successful series of art exhibitions dedicated to supporting emerging artists. Now, Van Hagen runs LVH art, a business dedicated to helping clients navigate the international art market. Here, we speak to the entrepreneur about his unexpected career path, his favourite places to see art and how to start building a collection.

Lawrence Van Hagen

1. Can you tell us more about the What’s Up exhibitions and how you found yourself in the role of curator?

I started a travel start-up and in order to raise funds for it I decided to curate an art show. I wanted to curate a show since my family is in the arts. My mother has her own art foundation, collects, curates exhibitions and writes books on art. We decided to curate a show called What’s Up based on what’s up today in the art world with a focus on artists to look out for, whether they are young or established. We had the first show in Soho, New York with two spaces, 50 artists and 100 artworks. The next show turned out to be even more successful than the first.

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We have now had shows in New York, London, Hong Kong and Seoul. I work closely with my mother. It’s more my project, but my mother gives me a huge amount of advice and help. It is nice to be able to bounce ideas off one another. The good thing about working with family is trust, you know for sure with family. My mother has kind of been my mentor and taught me what I know today since I didn’t go to art school. However, since I was a kid I was immersed in the arts and always lived with art which led me to start started collecting at a young age.

2. Do you see yourself as a mediator between established and new artists?

A big thing I do with the shows is I tend to bring emerging artists or mid-career contemporary artists together with very well known names. I blend them and create a dialogue between both. I find similarities in inspiration, historical aspects, colours or medium between the established and emerging artists. I do the shows this way since I think that it is interesting and I believe that in order to attract people to a show with emerging artists, you need work by household names as well. Also, when you have younger artists at a show, it keeps the older generation more current. This way of curating shows has enabled me to have a client base from 20 to 80 years old. The older collectors have the most amazing collection of well known artists but now consider acquiring work by a young artist from the shows. I have noticed that the public enjoys shows set up this way.

3. Do you buy art for its beauty or as an investment?

My taste is very classic, I tend to focus on art that is more beautiful than conceptual. However, one thing I tell everyone including myself is to focus on buying what one likes. Whether it is beautiful work or not, it is important to know that you love the work. Second, it’s important to consider investment. For me, it’s a factor of the acquisition in my collection. If it is a very young artist, I tend to not look at it. However if I spend a certain amount of money, it has to have an investment purpose. I will not just spend a big amount of money on something I like, it has to also be of value and something I believe in. One thing to know about the shows I do is that many of the artists we showcase are artists that my mother and I collect. I love to promote the artists from my shows. Lastly, it is more important for people to find what they like, than to have an advisor tell them if what they like will be a good investment.

Artworks featured in one of the ‘What’s Up’ by artists Franz West, Stefan Bruggemann and Lucio Fontana

4. Which artists’ work do you have at home?

I have a selection of young and old artists. I have beautiful work by Georg Baselitz, who is a well known German painter and sculptor. I have two works by a young artist Donna Huanca, who is based in Berlin. She is an incredible artist, who just did a show at the Belvedere Museum in Vienna. In my entrance, I have a work from the 90s by the American artist Robert Rauschenberg. I have work by Sean Scully, Stefan Bruggemann, Stanley Whitney and George Smith. In the bedroom, I have a beautiful 60s Kenneth Noland. There’s a lot more too.

In my house, I mainly have contemporary work, but with simple classic older artists. Most of the younger artists are a part of my collection and the other work is from my mother. I tend to borrow as well. I always move the artwork around in my flat to create a different aesthetic. I am lucky because the ceilings in my apartment are very high which is rare in London, so I can hang up 3 metre work. It is important for me to keep a lot of art in my house since it is my passion and profession, and I also throw dinner parties where friends come over and they can see what I do. A few pieces of art makes a big difference to a home.

5. Best place to see art in London?

It depends what type of art you are looking for. In terms of galleries, if you want to see more established artists or big shows, all the major galleries from David Zwirner and Gagosian Gallery in New York to Simon Lee in London are great. In London, if you want younger artists, it is good to go to the east end or south of London where you have Carlos Ishikawa and Emalin gallery. When it comes to museums, my favourites are Tate Modern and Whitechapel Gallery for contemporary art. Tate Britain and Royal Academy are also great. Auction houses always have incredible work. If you are not looking for a curated show and you just want to see beautiful paintings, I would recommend the private view before sale at Christie’s, Sotheby’s and Phillips. The auction houses have anything from contemporary to established and renaissance pieces. Lastly, to be honest the number one place to see art in London is in people’s homes. Often artists have incredible work in their homes since they trade with people they know.

6. As travel was your first business venture, what’s your next destination?

My next big trip is to Indonesia. I want to visit the Raja Ampat Islands on New Guinea. I also want to see the Komodo Islands with the Komodo dragon when I am there as it is close by. I travel every week as it is part of my work and I love it. I get to see many beautiful places on work trips, however it is still work for me. Therefore, my personal travels are very meaningful and I like to travel quite far to experience something different. My last big trip was to the North Pole. I like to do adventure trips. I am not a very resort-y person, but I always make sure the adventures are mixed with comfort. If anyone needs a travel guide, I am the guy to ask!

Follow Lawrence Van Hagen on Instagram: @lawrencevh

Interview by Andrea Stenslie