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Frieze London 2019: with Silverlens Galleries, Woven section curated by Cosmin Costinas

Past exhibition
3 - 6 October 2019
  • Overview
  • Installation Views
  • Works
  • Press
Overview
From Doro Wat to sushi and chicken wings and tings, 1991 Acrylic, oil, painted canvas, plastic buttons, beads on stitched and padded canvas 96 x 69 in 244 x 175 cm
From Doro Wat to sushi and chicken wings and tings, 1991
Acrylic, oil, painted canvas, plastic buttons, beads on stitched and padded canvas
96 x 69 in
244 x 175 cm

Cosmin Costinas curates a new themed section exploring textiles, weaving and legacies of colonialism.

 

Together these eight solo presentations will make visible the histories and continuous legacies of the colonial catastrophe, from the economies around textiles to current forms of exploitation and political complicity, as well as point to the various languages available to artistic practice in this critical effort. -Cosmin Costinas

 

VIEW EXHIBITION BROCHURE HERE

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Installation Views
  • Exhibition Frieze London 2019 1
  • Exhibition Frieze London 2019 2
  • Exhibition Frieze London 2019 3
Works
  • L.A. Liberty, 1992 Acrylic, cotton yarn, plastic buttons, mirrors, gold thread, painted cloth on stitched and padded canvas 94 x 58 in 239 x 147 cm
    L.A. Liberty, 1992
    Acrylic, cotton yarn, plastic buttons, mirrors, gold thread, painted cloth on stitched and padded canvas
    94 x 58 in
    239 x 147 cm
  • From Doro Wat to sushi and chicken wings and tings, 1991 Acrylic, oil, painted canvas, plastic buttons, beads on stitched and padded canvas 96 x 69 in 244 x 175 cm
    From Doro Wat to sushi and chicken wings and tings, 1991
    Acrylic, oil, painted canvas, plastic buttons, beads on stitched and padded canvas
    96 x 69 in
    244 x 175 cm
  • I thought the streets were paved with gold, 1991 Acrylic, oil, wood bristle, painted canvas, painted cloth on stitched and padded canvas 94 x 68 in 239 x 173 cm
    I thought the streets were paved with gold, 1991
    Acrylic, oil, wood bristle, painted canvas, painted cloth on stitched and padded canvas
    94 x 68 in
    239 x 173 cm
  • Tarhata sa Cortada, 1983 Acrylic, painted cloth on stitched and padded muslin 85 x 55 in 215.9 x 139.7 cm
    Tarhata sa Cortada, 1983
    Acrylic, painted cloth on stitched and padded muslin
    85 x 55 in
    215.9 x 139.7 cm
Press
  • Big Asian presence at London’s Frieze art fairs, where strong sales belied Brexit fears that have led galleries to open

    Aaina Bhargava, South China Morning Post, October 14, 2019
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  • Weave on! The ongoing reinvention of textile art gains wider recognition

    Agency, The Star, October 9, 2019
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  • Textiles finally get their moment in the art world spotlight

    The Publisher, TRT World, October 5, 2019
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  • Frieze London 2019: Brash, Bewildering but with Traces of Resistance

    Peter Yeung, AnOther, October 3, 2019
  • Frieze London 2019 review – gags, tapestry and hardcore ceramic panda sex

    Hettie Judah, The Guardian, October 3, 2019
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  • Frieze London Shows the Art World Has Cottoned On to Weaving

    Amah-Rose Abrams, The New York Times, October 3, 2019
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  • Photo courtesy of The Art Newspaper

    Woven: a special section at Frieze London links traditional influences with contemporary textile art

    Hannah Mcgivern, The Art Newspaper, September 30, 2019
  • What to see at Frieze 2019: the artists and galleries not to miss

    Meg Honigmann, Harper's Bazaar, September 28, 2019
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  • How textiles tell a story of empire and globalisation

    Tess Thackara, The Financial Times, September 26, 2019
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  • Southeast Asia at Frieze London

    Ho See Wah, Art & Market, September 20, 2019
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  • Artist Pacita Abad’s trapuntos on immigrant experience to be exhibited at the Frieze London 2019

    Christian San Jose, Nolisoli, September 16, 2019
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  • Frieze announces the most international edition of Frieze London as well as new additions to Frieze Masters

    Margaret Carrigan, The Art Newspaper, June 21, 2019
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  • Here Are the Exhibitor Lists for Frieze London and Frieze Masters 2019

    Claire Selvin, ARTnews, June 21, 2019
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