Frieze fringe events: our edit of the satellite art shows that run beyond the New York fair

Among the coterie of off-site Frieze shows is Sophie Calle's latest exhibition, a collaboration with Paula Cooper Gallery and Galerie Perrotin, installed within the chapel of the Episcopal Church of the Heavenly Rest, Courtesy of Sophie Calle, Paula Cooper Gallery, and Galerie Perrotin. © 2014 Sophie Calle / Artists Rights Society, New York / ADAGP, Paris

(Image credit: Guillaume Ziccarelli)

By Stephanie Murg

last updated 20 October 2022

in Features

With Frieze New York - and a growing cohort of satellite fairs - still in full swing and the auction houses in previews for their spring contemporary sales, there would seem to be no rest for the art lover this month. Sophie Calle to the rescue. The artist's latest exhibition, 'Rachel, Monique', is a haunting multimedia tribute of sorts to her late mother. Installed in the chapel of the Episcopal Church of the Heavenly Rest on East 90th Street, it offers an ideal place to pause and reflect on the way back from Randall's Island.

Palate and soul at least partially cleansed, the intrepid viewer can plunge back into the gallery scene, where a variety of notable exhibitions are seizing the momentum of Frieze, offering shows that run till long after the art fair closes its doors. Los Angeles gallery Blum & Poe is inaugurating its New York gallery with a colour-saturated survey of Mark Grotjahn's butterfly paintings, while nearby Luxembourg & Dayan is preparing to unveil 'The Shaped Canvas, Revisited,' a group show that will explore the enduring virtues of looking beyond the rectangle.

In West Chelsea, Hauser & Wirth has filled its downtown space with a stunning range of new works by Sterling Ruby, who has found a throughline in the tension between horizon lines and circular forms. The poignant contrasts and bold colours are amplified in Maccarone's first exhibition of the work of the late Sarah Charlesworth (1947-2013), whose 'Objects of Desire' series juxtaposes rephotographed imagery in coded hues. Things move to the digital realm at Friedman Benda, which is showcasing Dutch designer Joris Laarman's experiments with 3D printing and generative design tools.

Be sure to save room for dessert. David Zwirner has transformed one of its spaces into a factory churning out Chocmelos - chocolate-covered marshmallows that are the spongy signature candies of Colombia's Colombina - for the gallery's first show with Oscar Murillo. Best known for his expressionistic paintings, the Columbian-born artist has looked to his own heritage and imported a full-time staff to work the assembly line for an installation that evokes feelings of both displacement and delight. And the candy, free for the taking, is delicious.

**Paula Cooper Gallery and Galerie Perrotin:** The exhibition includes 'Couldn't Capture Death', Calle's 11-minute film of her mother, Monique Sindler, on her deathbed as well as a soundtrack in which actress Kim Catrall reads translated excerpts from Sindler's diaries,*Courtesy of Sophie Calle, Paula Cooper Gallery, and Galerie Perrotin. © 2014 Sophie Calle / Artists Rights Society, New York / ADAGP, Paris*

Frieze Fringe Art fair — Hauser & Wirth's downtown space presents Sterling Ruby's 'Sunrise Sunset' series, including this work titled 'The Cup', 2013,*© Sterling Ruby. Courtesy of the artist and Hauser & Wirth*

Sunrise Sunset reveals the wide-ranging practice of Sterling Ruby through new works — **Hauser & Wirth:** 'Sunrise Sunset' reveals the wide-ranging practice of Sterling Ruby through new works that include paintings, cardboard collages, tapestries, ceramics, and sculptures in metal, urethane, and fabric. Pictured is 'Basin Theology/2C-T-XX', 2013, *© Sterling Ruby. Courtesy of the artist and Hauser & Wirth*

Butterfly Paintings in New York gallery — Blum & Poe inaugurates its New York gallery with an exhibition of Los Angeles-based artist Mark Grotjahn's 'Butterfly Paintings', named for their wing-like luminosity ,*Courtesy of the artist and Blum & Poe, Los Angeles*

Paintings from private collections, public institutions

The Shaped Canvas at Luxembourg and Dayan — Opening 11 May at Luxembourg and Dayan is 'The Shaped Canvas, Revisited.' The showcase rounds up irregular canvases including this work by Nate Lowman, titled 'White Escalade', 2005-2008.

The Shaped Canvas, a Lawrence Alloway-curated exhibition at the Solomon R Guggenheim Museum — **Luxembourg and Dayan:** With pieces by the likes of Lucio Fontana, Ellsworth Kelly, Elizabeth Murray, and Nate Lowman, the show will take a fresh look at a non-rectangular approach to painting 50 years after the 'The Shaped Canvas,' a Lawrence Alloway-curated exhibition at the Solomon R Guggenheim Museum. Pictured is 'Untitled' by Richard Tuttle, 1967

**Luxembourg and Dayan:** 'Imperfect Painting', by Roy Lichtenstein, 1988

Technology meets craftsmanship theme — The works in 'Joris Laarman Lab: Bits and Crafts,' on view until 14 June at Friedman Benda, are divided into three technology-meets-craftsmanship themes: maker furniture, micro structures, vortex, and spirographic,*Courtesy of Friedman Benda and Joris Laarman*

**Friedman Benda:** 'Diamond Table', from Joris Laarman Lab's 'Maker Series'

**Friedman Benda:** 'Dragon Bench' also from Joris Laarman Lab's 'Maker Series'

The theme of digital fabrication and generative design tools in exhibition — **Friedman Benda:** Formed around the theme of digital fabrication and generative design tools, Laarman’s exhibition is testament to the seismic impact of digitalisation on the design world

Handcraft and technology, parametric design tools and digital fabrication — **Friedman Benda:** 'I believe in the symbiosis of handcraft and technology such as parametric design tools and digital fabrication,' explains the artist, speaking about his Maker Series

**Maccarone:** 'Buddah of Immeasurable Light', by Sarah Charlesworth, 1987. 'There's something about the surface of a photograph, how it acts, and about the coherence of photographic illusion that both fascinates and disturbs me,' the late artist once said.

**Maccarone:** 'Lotus Bowl', by Sarah Charlesworth, 1986.

**Maccarone:** 'Red Scarf', by Sarah Charlesworth, 1983.

A digital installation of gallery — **David Zwirner:** A digital installation of Murillo's candy factory, while gallery goers can take home their fill of the thousands of complimentary silver-wrapped Chocmelos produced each day

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Stephanie Murg is a writer and editor based in New York who has contributed to Wallpaper* since 2011. She is the co-author of Pradasphere (Abrams Books), and her writing about art, architecture, and other forms of material culture has also appeared in publications such as Flash Art, ARTnews, Vogue Italia, Smithsonian, Metropolis, and The Architect’s Newspaper. A graduate of Harvard, Stephanie has lectured on the history of art and design at institutions including New York’s School of Visual Arts and the Institute of Contemporary Art in Boston.

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