Candy

Candy brings together the Visual Candy series by Damien Hirst (b.1965) and the candy spill work of Felix Gonzalez-Torres (1957-1996). The exhibition reveals the differing ways in which both artists explored the idea of candy during the 1990's. The spacious gallery is bursting at the seams with colour, projected from both the paintings on the walls and the individually wrapped, multi-coloured cellophane sweets on the floor.  

Gonzales-Torres's candies surround the galleries central column forming a glittering circular carpet. The work encourages the viewer to interact with it, as a viewer you are allowed to touch, take and eat the candy resulting in the works continuous state of flux. During the private view children were writing their names in sweets on the floor, one guest took it a step too far though, throwing herself into Untitled, 1992, a pile of candy in the corner, before being swiftly escorted out of the building. Gonzales-Torres said his candy spills were about letting go, refusing to make a static form just as life itself is constantly changing.

Untitled, 1992, Gonzales-Torres

Hirst's Visual Candy paintings, created between 1993 and 1995, were made in response to a critic who had slated his Spot Paintings as 'just visual candy.' Hirst's paintings such as Some Fun, 1993 and Dippy Dappy Dabby, 1993, question the idea that aesthetically pleasing art is insignificant.

Dippy Dappy Dabby, 1993, Damien Hirst

Damien Hirst and his bling chain

At first glance the paintings appear totally abstract though on closer inspection they are in fact depictions of medicinal pills, stylised representations of the psychological effects of mood-enhancing drugs. Hirst once said, 'in every painting there is a subliminal; sense of unease'; what with his paintings vibrant colours creating a feeling of surface optimism it is hard to pick up on the underlying darkness, the low that follows a high. 

The exhibition is open at Blain Southern until 30 November 2013 if you fancy some sweets!

Friezzzzze

Appropriately named given the onset of this cold weather, Frieze London and Frieze Masters, located within walking distance of each other in Regents Park, open tomorrow and continue until Sunday. 

Frieze London is one of the only fairs focusing solely on contemporary art and living artists, mainly post year 2000. The fair is divided into three sections with most galleries located in the 'Main Gallery' section, the others can be found in 'Focus' and 'Frame'. All galleries in Focus have solo shows or curated projects and have only been open since 2001, the works of which have never been exhibited at an art fair before. Frame is dedicated to solo artist presentations by galleries that have been in existence for less than eight years and present a regular programme of exhibitions.

Only in it's second year, Frieze Masters displays work made before year 2000, providing an interesting old and new art comparison. The fair is divided into two sections, again most exhibitors can be viewed in the 'Main Gallery' while 'Spotlight' is for those with solo 20th-century artist presentations.

This years Frieze Sculpture Park is it's largest to date, incorporating works from both fairs by some of the most acclaimed contemporary sculptors, alongside historical pieces dating back to the medieval period. Sculptures by Joan Miro, Helen Chadwick, Judy Chicago, Rachel Whiteread, plus many more are on display.

The Art Newspaper is also producing daily papers at both fairs so be sure to pick up a copy if you manage to pop down.