Breaking Down Some Of The Best Works At Frieze 2024

Nymph III (2024) by Ji Xin, presented by Almine Rech

Almine Rech presented a new series of works from renowned Chinese artist, Ji Xin. Nymph III was a particular standout, which, like many of his other works, was created with oil on canvas. The painting depicts two beings suspended in a void-like space, with shapes and figures playing with varying levels of surrealism.

The figures in all of these works appear to be in a state of contemplation and ennui, as depicted by their eye positions and slanted heads. Xin is known for portraying the expression of complex emotions, where his subjects are seemingly detached from the constraints of time and space.

Xin draws inspiration from a variety of sources, including early Italian Renaissance art, Buddhist art, and ancient Egyptian art. His work isn't restricted to any historical period, but rather, draws from a variety of cultural references and heritages which constantly change and evolve.

The Birds (2017) by Benedikte Bjerre, presented by Palace Enterprise 

Bjerre presented an almost interactive exhibit of 125 foil-coated, helium-puffed baby penguins which were seen bobbing and swaying around. The work is a piercing social commentary on the climate crisis and devastating impacts of climate change. Exhibition notes revealed that the work also references Alfred Hitchcock’s 1963 film 'The Birds', "contrasting the director’s vengeful enactment of his birds’ agency with his penguins’ blithe acceptance of their own limitations and fate."

Terror in the Alps (2024) by Umar Rashid, presented by Tiwani Contemporary 

A large, acrylic on canvas painting from Umar Rashid is nothing if not visually enthralling. Putting his own twist on a historical narrative, UFOs can be seen soaring through the Swiss Alps, wreaking havoc on a colonial picnic luncheon. Far from traditional fare, a young woman can be seen holding a bucket of KFC, while men in powdered wigs surround her, drumsticks in hand. Behind her, a UFO can be seen beaming up a man on horseback. It is equal parts chaotic and fun, with Rashid fusing past, present and future seamlessly together in one fun work.

Fight and the Party (2024) by Shafei Xia, presented by P420

In her latest works, Shafei Xia turns to watercolour on sandal paper to create a series of unique paintings. Exploring themes of power and love with undertones of eroticism and violence, there is plenty of visual action in this particular painting. Drawing on ancient references from 19th-century Chinese artworks,

For Xia, animals often serve as allegory, as she defies and redefines social conventions and expectations. Tigers are often a main focal point, which in Chinese alchemy, indicates the active principle, energy as opposed to the passive principle.

Inviting us to look behind the curtain, the innerworkings of her subjects are often revealed to be surprising. At a glance, we can see fishbones, which are seen to be a sign of danger, while couples embrace and dance seemingly without a care - this conflict of emotions is what makes Xia's work so powerful.

A Moving Object (2024) by Ryan Gander, presented by Esther Schipper

Suffolk-based artist Ryan Gander has built an international reputation for creating bodies of work in different forms, ranging from paintings to sculptures and performances. He often takes a philosophical stance, with thought-provoking, witty takes on various phenomenon.

In A Moving Object, an overturned ice cream cone is said to epitomise his 'overturned' childhood dream. It is part of a wider series of abandoned ice cream cones and bars, embodying the reminder that life can change in a single mount. The work was actually inspired by his observation of a child dropping an ice cream and experiencing regret as a result.

His work A Moving Object, a small overturned ice cream cone, epitomises the artist’s childhood “overturned” dream. His work always has small details that simplify realities, explaining that everything in this world is not forever. Made from painted bronze, the half-melted state of the ice cream is quite literally frozen in time, as if only dropped a moment ago. The piece is simultaneously playful and profound.

Sound Clash by Ben Selig

Made up of three sound stations located around Frieze, Sound Clash is an installation drawing on range of audio and visuals to prompt a conversation around or relationship to land, amid ongoing gentrification.

This is a collaborative work between sound artist Ben Swaby Selig and filmmaker/photographer Hannah Oliver. It marks the first of an ongoing project of Selig's which will explore place-making, specifically in east-London.

Drawing from oral testimonies recorded in Stratford and Jamaica, visitors were invited to listen to the soundscapes which conceptualise the shift between East London and Jamaica.

North American Waitress, Coffee Shop Variety (1976) by Martha Rosler, presented by Galerie Lelong & Co.

Debuting in 1976, Martha Rosler's seven prints explore the exploitation of women's labour, particularly in the food-service industry. A series of diagrams, guidelines and images unveil the unattainable standards set for women as their bodies are reduced to a set of regulations aimed at pleasing the customer, who a lot of the time, are male.

Of particular interest is a listing which outlines what is required of the ‘ideal’ waitress (in terms of behaviour and appearance). These have been taken from professional manuals used in catering colleges and training courses. Within it, Rosler has inserted her own comments, including as “her hairdo is not more stylish than yours” and “she is not more glamorous than you”. Irony is achieved with the juxtaposition of a photograph of an actual waitress, taken in 1976. Here, the objectification is clear, as Rosler strongly critiques the service industry at that time, and the commercialisation of women's bodies.

A subtle sense of humour underlies the piece, but the main point is undoubtedly the gender ideals enforced on women at that time. It is a fascinating capsule of a time period which feels borderline dystopian.