Frieze New York 2025

This work is related to Tacita Dean’s commission by The Royal Opera House in London to create the designs and costumes for a new ballet called The Dante Project. Co-produced with Paris Opéra, it premiered in London in October 2021 and was shown in the Palais Garnier in Paris until May 2023. The ballet is inspired by Dante Alighieri’s Divine Comedy (1307 – 1321) Dean’s circular charcoal drawing shows a mountainous spiral drawn in negative, echoing the cold, upside-down, monumental mountains created for the backdrop of the first act of the ballet, Inferno.

Dean’s major exhibition Blind Folly first shown at the Menil Collection, Houston, will travel to Columbus Museum of Art, Columbus Ohio, October 2025–March 2026.

Singh’s recent works take the form of large wall-mounted panels where the images can be endlessly rearranged. Described by the artist as constructed ‘contact sheets’, the form emerged while examining her archive of forty years of analogue contact sheets, a method she still uses even when photographing digitally. 

'Architects’ Gathering' brings together several architectural references, creating what Singh has called her ‘own architectural history’. At the centre of this work is an image of a 2nd Century interior in Pompeii surrounded by contemporary buildings of Eduardo Souto de Moura in Braga; Rahul Mehrotra in Ahmedabad; Ludwig Mies van der Rohe; and Kazuo Shinohara, among others.

Singh’s work is currently on display at the Kanoria Centre for Arts, Ahmedabad as part of the artist’s survey tour, which opened at the Jehangir Nicholson Art Foundation, Mumbai last year. From 2022–24 Singh’s touring retrospective Dancing with my Camera opened at Gropius Bau, Berlin and toured to Museum Villa Stuck, Munich; MUDAM Luxembourg and Museu Serralves, Porto.

This piece is from of a series of bronze foxgloves that Dorothy Cross has been developing over the years. The creation of these works is difficult and precarious. The flowers are extremely fragile and as part of their casting process each must first be dipped in wax and encased in plaster, prior to being burnt out by molten bronze as it is poured into the moulds. This method means the cast is unique and despite the monumentality normally associated with bronze, each carries within it an inherent fragility.

As context, Cross tells the story of how when she was a child “we were told never to place our fingers in a foxglove and then lick them or we would go blind.” Looking closely at the work one can see that some of the foxglove’s flowers have actually been replaced by bronze casts of fingertips.

Another work from this series is currently on display at Chatsworth House, United Kingdom.

Dorothy Cross has a solo exhibition at the Archaeological Museum Zagreb autumn 2025. 

In her recent video work DISARM (landscape) (2024), Fiona Banner aka The Vanity Press captures the absurdity of military flypasts which she describes as ‘a raw moment of extreme weather; a violent murmuration.’ The flypast manifests an instant in which language meets its limits – subverting the macho message of military power, as the planes in formation race across an immense cloudscape spelling out the word DISARM. These jets perform a desire for peace rather than conflict and in doing so signal their own demise.

Still (Flypast), is one of a series of graphite drawings (2024-25) that could be storyboards for, or documentation of, the flypast. The drawings are presented in artist-made frames formed of recast metal from a Tornado ZE728 that highlight the liquid and solid possibilities of the material. In the works Banner alludes to the industrial purpose of graphite as a lubricant and probes ‘the possibility of lubricating a language that has calcified into its opposite.’ 

Fiona Banner aka The Vanity Press currently has a solo exhibition at Frith Street Gallery, London until May 2025. 

Emerging from a previous video installation titled Shadow, in which images of flying objects attach themselves to projected figures of viewers, Untitled, features a cast of the artist’s own hand appearing to hold a rock, which is actually placed just beyond it. A contextual motif gaining traction particularly in narratives of protest, the rock embodies elements of being familiar yet foreign to the hand.

Here Gupta is interested in the disjointed relationships that connect yet conceal themselves within our consciousness, much like our possession of both physical and metaphorical shadows, which we all carry, struggling to define the reciprocity of our relationship yet maintaining them all the same.

Shilpa Gupta’s solo exhibition Lines of Flight, continues at the Ishara Foundation, Dubai,  until 31^st May. A new body of work will be shown at the Manchester International Festival in July 2025. Gupta has been awarded the Possehl Prize for International Art with an accompanying show at Kunsthalle St. Annen in Lübeck, Germany, in September 2025.

Returning time and again to the particularities of a place, John Riddy’s work is often driven by his curiosity to see and photograph locations which have become a part of our cultural landscape. Le Tholonet (Pine), 2024, comes from a new series of works made in Aix en Provence, France, in an area where Paul Cézanne spent much of his life painting his now celebrated motifs.

Riddy’s own preoccupation is with the cross-over between our accumulated images and references and the everyday physical reality of what is in this case a simple path. Working in black and white allows him to emphasise the modulated tones and sculptural qualities of the landscape, dislocating the image from the drama of a specific moment in time. The muted tones and carefully balanced composition help allude to other kinds of ‘after-image’; x-rays of artworks or the etching made ‘after’ a painting.