{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Art Attack - contemporary London fair embraces performance art.' data-url='/boclips/videos/5c54c4e5d8eafeecae16c1bd' data-video-url='/boclips/videos/5c54c4e5d8eafeecae16c1bd' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nArt Attack - contemporary London fair embraces performance art.\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eIt's art but not as many know it.Here at Frieze London contemporary art fair, visitors are watching these two performers recreate an old performance work by German artist Franz Erhard Walther.He's been a pioneer of action-based sculpture...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eIt's art but not as many know it.\u003cbr/\u003eHere at Frieze London contemporary art fair, visitors are watching these two performers recreate an old performance work by German artist Franz Erhard Walther.\u003cbr/\u003eHe's been a pioneer of action-based sculpture since the late 1960s.\u003cbr/\u003eThis performance work - named 'Sehkanal (1. Werksatz No. 46)' - was first performed in 1968 and requires two participants to stretch a long piece of material between them.\u003cbr/\u003eThis year, Frieze is embracing performance art, with a new section devoted to the daring form of artistic expression.\u003cbr/\u003eFranz Erhard Walther's work is being displayed by the Paris-based Galerie Jocelyn Wolff.\u003cbr/\u003e\"On one hand are the pieces, in activation they turn into artworks and the people that perform them and they can see themselves, in the case of the pedestal, as sculptures, as living sculptures,\" he says.\u003cbr/\u003ePerformers are also recreating Erhard Walther's 'Winkel', in which the two participants slowly move along two long pieces of metal.\u003cbr/\u003eFor the first time in 12 editions of the fair, Frieze London is staging a specialist section named 'Live'.\u003cbr/\u003eIt's specifically for ambitious performance and participatory works.\u003cbr/\u003eIt features six carefully selected galleries, each showing pieces conceived specifically for the event.\u003cbr/\u003eAccording to Frieze art fair co-director Amanda Sharp, it's an important art form in today's modern contemporary art world.\u003cbr/\u003e\"There's art called performance art where people do things in front of you,\" she says.\u003cbr/\u003e\"It could be almost something like a recipe, you tell people how to do an action and of course how do you sell something like that, it's not so easy. It's very impactful, it's very enjoyable for an audience, and it also affects how other artists make work in the world today.\"\u003cbr/\u003eOther galleries taking part include Germany-based Silberkuppe who are exhibiting Australian artist Adam Linder' danced-based performance artwork.\u003cbr/\u003eIt's called 'Choreographic Service No. 2' and combines two dancers and an art writer.\u003cbr/\u003eAnother gallery bringing performance art to the fair is the Green Tea Gallery from Fukushima, Japan.\u003cbr/\u003eTheir performance work by artist collective UNITED BROTHERS is called 'Does This Soup Taste Ambivalent?'.\u003cbr/\u003eAs part of the performance work, they're offering portions of soup to Frieze visitors. \u003cbr/\u003eAnd for some it may be harder to swallow because it's made by their mother using vegetables grown within the region of Fukushima's 2011 nuclear disaster.\u003cbr/\u003eCollective member, Ei Arakawa, says it's interesting to watch people's reactions to the soup.\u003cbr/\u003e\"Even though the vegetables we are using, tested the radiation exposure is very, very low - it's safe. However, because of the media experience of Fukushima, you know people are afraid of eating them,\" he says.\u003cbr/\u003eAs one of the highlights on the contemporary art calendar, this year Frieze London has gathered 162 of the world's leading contemporary galleries all in one place.\u003cbr/\u003eThere are exhibitors from 25 different counties including Brazil, China and the UAE.\u003cbr/\u003eAnd visitors aren't just encouraged to enjoy the art on show here, they can also take it home.\u003cbr/\u003eOrganisers say a lot of the work here will get sold, even though around 85 percent of attendees just come to enjoy the show.\u003cbr/\u003eThis year, solo presentations are a big trend, with many international galleries selecting a single artist to fill or curate their entire space.\u003cbr/\u003eLondon-based Hauser and Wirth are celebrating acclaimed sculptor Mark Wallinger joining the gallery by allowing him to curate their entire booth.\u003cbr/\u003eInspired by Sigmund Freud's study in Hampstead - a location less than a mile away from the fair - Wallinger's installation plays on ideas of domestic space and the rational of creativity.\u003cbr/\u003eThe gallery is display artists including British artist Phyllida Barlow, Swiss artist Pipilotti Rist and American/French artist and sculptor Louise Bourgeois.\u003cbr/\u003eAt the space of Gateshead-based Workplace Gallery, sculptor Eric Bainbridge is staging a solo presentation.\u003cbr/\u003eHe's been staging solo exhibitions since the mid to late 1980s and many of the works feature one of Bainbridge's favourite mediums; fur fabric.\u003cbr/\u003e\"I love the fact that it's completely synthetic, I love the fact that it has an everyday usage, I love the fact that it's very tacky,\"  he says.\u003cbr/\u003e\"But I also love the fact that this green piece that we're standing next to has an incredible capacity to play with light in a very classical sense. People have always talked about marble as a material that can deal with the subtleties of light, and marbles got nothing on fur fabric.\"\u003cbr/\u003eAt the booth of the international Lisson Gallery, artists Cory Arcangel, Ryan Gander and Joyce Pensato are intervening and disrupting the stand through installation, performance and collaborative work.\u003cbr/\u003eIt's all an attempt to manipulate how visitors to the fair interact with work.\u003cbr/\u003eThe gallery's staff members are sporting custom-made Adidas trainers by Gander.\u003cbr/\u003eThere's also more traditional forms of artwork by the British artist, including this sculpture named 'Portenchoppader' and this painting named 'Bad Language (the iconography and abstraction of velocity explored).\u003cbr/\u003e\"Every emotion is a colour,\" says Gander.\u003cbr/\u003e\"If I was a painter everything I could possibly do, there isn't really a thematic at all. The only real theme is to enjoy myself and to explore visual language.\"\u003cbr/\u003eFrieze Projects is a programme of artist commissions which takes place each year at the fair.\u003cbr/\u003eThis year, there's a focus on artists whose practices intersect with other disciplines such as dance, film and music. \u003cbr/\u003eSwiss artist Tobias Madison has constructed an experiential environment in which visitors' movements change how they interact with the piece.\u003cbr/\u003eIt's called 'Scenario' and is a never ending circle of water which slowly fills different chambers before draining away.\u003cbr/\u003eThe artist is known to use a wide range of media in his work, including sculpture, video, projection, audio, photographs and scans.\u003cbr/\u003eHe says the project was created in response to the art fair's frenetic atmosphere.\u003cbr/\u003e\"I wanted to make something that as opposed to the fair is so much about fluid social interaction, I wanted to make something that stands on its own, circulates within itself for which the viewer can take a few different viewpoints towards,\" he says.\u003cbr/\u003eFrieze international contemporary art fair runs at London's Regent's Park 15-18 October.\u003cbr/\u003eAP Television\u003cbr/\u003eLondon, UK - 14 October 2014\u003cbr/\u003e1. Various of man and woman performing 'Sehkanal (1. Werksatz No. 46)' (1968) by Franz Erhard Walther at Galerie Jocelyn Wolff space\u003cbr/\u003e2. Setup shot of Franz Erhard Walther, Artist, watching performance \u003cbr/\u003e3. SOUNDBITE (English) Franz Erhard Walther, Artist:\u003cbr/\u003e\"On one hand are the pieces, in activation they turn into artworks and the people that perform them and they can see themselves, in the case of the pedestal, as sculptures, as living sculptures.\"\u003cbr/\u003e4. Various of man and woman performing 'Winkel' (1975) by Franz Erhard Walther\u003cbr/\u003e5. Various of men performing 'Choreographic Service No. 2' by Adam Linder at Silberkuppe gallery space\u003cbr/\u003e6. Setup shot of Amanda Sharp, Co-director, Frieze London, walking past artwork\u003cbr/\u003e7. SOUNDBITE (English) Amanda Sharp, Co-director, Frieze Art Fair:\u003cbr/\u003e\"There's art called performance art where people do things in front of you. It could be almost something like a recipe, you tell people how to do an action and of course how do you sell something like that, it's not so easy. It's very impactful, it's very enjoyable for an audience, and it also affects how other artists make work in the world today.\"\u003cbr/\u003e8. Various of 'Does this soup taste ambivalent?' performance artwork by artist collective UNITED BROTHERS at Green Gallery Space\u003cbr/\u003e9. Mid of attendee eating soup\u003cbr/\u003e10. Mid of woman serving soup\u003cbr/\u003e11. Close of writing on all reading (English): \"Does this soup taste ambivalent?\"\u003cbr/\u003e12. Setup shot of Ei Arakawa, Artist and member of UNITED BROTHERS artist collective, speaking with attendee\u003cbr/\u003e13. SOUNDBITE (English) Ei Arakawa, Artist and member of UNITED BROTHERS artist collective:\u003cbr/\u003e\"Even though the vegetables we are using, tested the radiation exposure is very, very low - it's safe. However, because of the media experience of Fukushima, you know people are afraid of eating them.\"\u003cbr/\u003e14. Mid of man eating soup\u003cbr/\u003e15. Tilt up from Runo Lagomarsino's 'Violent Objects' (2014) to oil painting 'Miss Herondina' (2014) by Thiago Martins de Melo \u003cbr/\u003e16. Pull in to 'Miss Herondina' (2014) by Thiago Martins de Melo \u003cbr/\u003e17. Wide of attendees at art fair\u003cbr/\u003e18. SOUNDBITE (English) Amanda Sharp, Co-director, Frieze Art Fair:\u003cbr/\u003e\"They can probably see more under one roof in one day, than they could in every museum in England in a year.\"\u003cbr/\u003e19. Pan left from acrylic painting 'Untitled' (2014) by Bjarne Melgaard\u003cbr/\u003e20. Pull in to 'Crystal Palace' (2014) by Jack Whitten\u003cbr/\u003e21. Mid of attendees at art fair\u003cbr/\u003e22. Mid of 'untitled: chairs' (2012-13) by Phyllida Barlow at Hauser and Wirth gallery space\u003cbr/\u003e23. Tilt up of 'untitled: chairs' (2012-13) by Phyllida Barlow at Hauser and Wirth gallery space\u003cbr/\u003e24. Wide of 'Geburtsort ist Zufall (Birthplace Is Random)' (1994) by Pipilotti Rist at Hauser and Wirth gallery space\u003cbr/\u003e25. Mid of 'Arched Figure' (1993) by Louise Bourgeois at Hauser and Wirth gallery space\u003cbr/\u003e26. Various of sleeping guard at Hauser and Wirth gallery space\u003cbr/\u003e27. Various of 'The Embarrasment of Jimmy The Nail' (2014) by Eric Bainbridge at Workplace Gallery space\u003cbr/\u003e28. Pull out from attendee to 'Unititled' (2014) by Eric Bainbridge at Workplace Gallery space\u003cbr/\u003e29. Various of 'Untitled' 2014 by Eric Bainbridge at Workplace Gallery space\u003cbr/\u003e30. Setup shot of Eric Bainbridge, Artist, seen through 'Unititled' (2014) by Eric Bainbridge\u003cbr/\u003e31. SOUNDBITE (English) Eric Bainbridge, Artist:\u003cbr/\u003e\"I love the fact that it's completely synthetic, I love the fact that it has an everyday usage, I love the fact that it's very tacky. But I also love the fact that this green piece that we're standing next to has an incredible capacity to play with light in a very classical sense. People have always talked about marble as a material that can deal with the subtleties of light, and marbles got nothing on fur fabric.\"\u003cbr/\u003e32. Pull in to charcoal art 'Mickey for Micky' (2014) by Joyce Pensato at Lisson Gallery space\u003cbr/\u003e33. Pan right to 'Portenchoppader' 2014 by Ryan Gander on display at Lisson Gallery space\u003cbr/\u003e34. Close pull focus of 'Portenchoppader' 2014 by Ryan Gander\u003cbr/\u003e35. Various of 'Bad Language (the iconography and abstraction of velocity explored)' 2014 by Ryan Gander on display at Lisson Gallery space\u003cbr/\u003e36. Low shot of person wearing Adidas trainers designed by Ryan Gander\u003cbr/\u003e37. Setup shot of Ryan Gander, Artist, speaking with attendee\u003cbr/\u003e38. SOUNDBITE (English) Ryan Gander, Artist:\u003cbr/\u003e\"Every emotion is a colour, if I was a painter everything I could possibly do, there isn't really a thematic at all. The only real theme is to enjoy myself and to explore visual language.\"\u003cbr/\u003e39. Various of 'Scenario' Frieze project by Tobias Madison\u003cbr/\u003e40. SOUNDBITE (English) Tobias Madison, Artist:\u003cbr/\u003e\"I wanted to make something that as opposed to the fair is so much about fluid social interaction, I wanted to make something that stands on its own, circulates within itself for which the viewer can take a few different viewpoints towards\u003cbr/\u003e41. Wide exterior of Frieze Art Fair\u003cbr/\u003e42. Pull focus of sign reading (English): \"Frieze Art Fair\"\u003cbr/\u003e43. 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