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Kamel Mennour presents Neil Beloufa and Gina Pane at Frieze London and Frieze Masters 2019

Neil Beloufa, Pre-Post, 2019, courtesy of kamel mennour archives, kamel mennour, Paris, London
Neil Beloufa, Pre-Post, 2019, courtesy of kamel mennour archives, kamel mennour, Paris, London
Neil Beloufa, Pre-Post, 2019, courtesy of kamel mennour archives, kamel mennour, Paris, London

Neil Beloufa at Frieze London, 2019. Booth A2 

Following a stand-out presentation of Tatiana Trouve’s 1.2 tonne tree The Shaman in 2018, kamel mennour returns with a solo booth of Neil Beloufa at Frieze London (booth A2). The French-Algerian artist will create a day at the seaside inside the booth, but the picturesque scene will be violently contrasted by stark imagery of mass-consumption. The booth will also include Beloufa’s first series of bronze sculptures. In his typical style, Beloufa will raise questions of morality through providing electric sockets in the booth – inviting fair-goers to charge their mobile phones but also risk the fear of electrocution.

Alongside this presentation, in the gallery’s Mayfair space, Beloufa will exhibit a series of luminous, brightly coloured flowers and cars in resin, in which will be preserved hidden debris from Beloufa’s studio including old six packs, pizza boxes, and wrapping materials installations. This solo exhibition will run from 1 October – 2 November at kamel mennour London, 51 Brook Street.

Gina Pane, Azione sentimentale, 9 novembre 1973, Courtesy Anne Marchand and kamel mennour, Paris, London
Gina Pane, Azione sentimentale, 9 novembre 1973, Courtesy Anne Marchand and kamel mennour, Paris, London

Gina Pane at Frieze Masters, London, 2019. Booth C5

At Frieze Masters, kamel mennour will present a solo booth of the late French artist Gina Pane. A central figure in the French arts scene between the 1970s-1980s, Pane skillfully practised in a range of media throughout her career. Between the late 1960s and the end of the 1970s, it was her own body that Pane used as the principle material for her creation and the instrument of the new language of body art, and it is these images of pierced and bleeding skin that most audiences identify as her work.

The booth will range from display paintings, heavily influenced by geometric abstraction (1964-1967), to the works made in homage to nature (1968-1970), to the heavily symbolic public actions with their rituals of wounding (1971-1979), to the Partitions, her final sculptural works inspired by the lives of the Christian martyrs (1980-1989).

Written by Verónica López

Editor Television section in English and Spanish. Born in Valencia in 1987. Degree on Journalism.

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