LONDON.- Pace Gallery announced the details of its presentation for the 2024 editions of Frieze London, Frieze Masters, and Frieze Sculpture. Featuring paintings, sculptures, installations, textiles, and photographs, Pace’s booth (D21) at Frieze London will highlight contemporary artists from its upcoming exhibition program at its London gallery. During the run of the fair, a two-part exhibition of new work by Robert Longo—including his first Combines in over thirty years—will be on view at Pace and Thaddaeus Ropac.

At Frieze Masters, the gallery will present a solo booth by Nathalie Du Pasquier, showcasing paintings and sculptural reliefs by the artist alongside works that have influenced her practice. At Frieze Sculpture, Pace will show Yoshitomo Nara’s 2020 sculpture Ennui Head.

Frieze London
Regent’s Park
9 – 13 October
Booth D21

Pace will return to Frieze London with works by artists including Acaye Kerunen, Emily Kam Kngwarray, Sonia Gomes, William Monk, Arlene Shechet, Mika Tajima, and Hank Willis Thomas, each of whom will hold solo exhibitions at the gallery’s Hanover Square location throughout 2024 and 2025. The booth will also feature new works by Genesis Belanger and Robert Longo, coinciding with their exhibitions at Pace in London.

Nigel Cooke, Keith Coventry, Kevin Francis Gray, and Pam Evelyn, London-based artists, will be represented at the fair with paintings, sculptures, and works on paper. Evelyn will also hold her first U.S. exhibition in November at Pace’s 510 West 25th Street gallery in New York. Additionally, the gallery will showcase a sculpture and a mixed-media work by Alicja Kwade, alongside paintings by Alejandro Piñeiro Bello, Latifa Echakhch, and Marina Perez Simão, who is currently presenting her first institutional exhibition in Germany at the G2 Kunsthalle in Leipzig, running through March next year.

Pace’s presentation will also include works by artists preparing for institutional solo exhibitions in 2024 and 2025. Artist duo Elmgreen & Dragset, who are represented at the fair by a new marble sculpture, will open L’Addition in the Musée d’Orsay’s iconic sculpture nave on October 15. Next year, Emily Kam Kngwarray will be the subject of a major retrospective at Tate Modern, and Yoshitomo Nara—also featured at Frieze Sculpture this year—will present a survey exhibition at the Hayward Gallery. A new painting by Adam Pendleton will also be included in the booth ahead of his show at the Hirshhorn Museum and Sculpture Garden in Washington, DC, next spring.

A painting by Paulina Olowska will also be featured on Pace’s booth. Following Frieze London, Olowska will present a curated booth for the gallery at Art Basel Paris, exploring occultic themes in the works of Louise Nevelson, Lucas Samaras, and Kiki Smith. In November, she will open her first solo exhibition at Pace’s Geneva gallery, titled Widows of the Wind.

Frieze Masters
Regent’s Park
9 – 13 October
Booth C10

Nathalie Du Pasquier
Studio
curated by Sheena Wagstaff
Former Chair of Modern and Contemporary Art at The Metropolitan Museum of Art, New York

Pace will present a solo booth by Nathalie Du Pasquier for Frieze Masters as part of the second-ever edition of Studio, a dedicated section of the fair curated by Sheena Wagstaff.

Spanning nearly thirty years of Du Pasquier’s career in drawing and painting, the booth will trace the evolution of her practice from early architectural works and still-life wooden assemblages to her most recent abstract paintings and works on paper. The booth will also feature an artist-curated selection of contemporary and historical works that have influenced Du Pasquier’s practice, including two collages by Louise Nevelson and an eight-panel Chaekgeori—a traditional genre of painting that originated in 17th-century Korea.

Frieze Sculpture
Regent’s Park
18 September – 27 October
curated by Fatoş Üstek
Former Director of the Liverpool Biennial

Pace will show Yoshitomo Nara’s 2020 sculpture Ennui Head as part of the 12th edition of Frieze Sculpture, on view from 18 September – 27 October.

Originally conceived as a small, palm-sized clay piece, Ennui Head has been enlarged, cast in bronze, and coated in white urethane. Nara has explained that his shift toward sculptural massiveness stems in part from a desire for his works to "remain in the history of art… to survive as long as humankind exists." Ennui Head exemplifies Nara’s exploration of bronze, which he first introduced in his 2012 solo exhibition a bit like you and me... at the Yokohama Museum of Art in Japan.

Following the 2011 tsunami that severely impacted the Aomori province, Nara reevaluated his artistic practice and became interested in working with clay, a process that evoked his childhood experiences with handcrafting. “I just wanted to put all my energy into hand-thinking,” he explained, “and I began to work on a massive lump of clay to create bronze sculptures. It helped: I accordingly recovered my hands for painting through this process.”

Ennui Head melds the physical, natural world with portraiture, sharing a sensibility with Nara’s graphite drawings through its use of shadow and line. The visible pressure of the artist’s fingers and the figure’s hollowed eyes subvert the work’s implicit cuteness, revealing the complexities of emotions beneath the surface—ranging from anger to melancholy, and serenity to ennui.