But in the meantime, a moment for the underground. Down here a ring of sound and images has Harry Sanderson’s DIY render farm at Unified Fabric surrounded; the super computer and the labour behind it literally placed at the centre of videos looking at the problem of the image. Among them is Hito Steyerl’s ‘STRIKE’, exploring the artist’s position in relation to the screen and Clunie Reid’s ‘The More or Less of Miley Cyrus’, interrogating representations and their source in an uncomfortably familiar image.
Then there’s Darling’s Haus. As a relative outsider, the prospect of a Camberwell residence packed with strangers was an intimidating one to say the least, but appropriate to the invite-only setting of “post-fordist scene colleagues” the event consciously caters to. A house party but also a showcase of video works and performances, its gesture to a Frieze-emulating fake-exclusivity was realised by a guest list and actual bouncer with an entry stamp reading “neoliberal singularity”. Darling’s ongoing refusal to “frame” her work in the ‘white cube’, as she iterated in a recent aqnb interview, reflects the anarchic nature of London art as “gallery-as- brand-as-dj-as-person”, while one busting for a wee is confronted by a ‘performative’ toilet; a couch keeping the bathroom door ajar for your viewing pleasure. Precious privacy is mercifully granted a floor up with one that shuts but the option of keeping public, as a nudge to contingency, with an in-house camera inviting patrons to contribute toilet selfies, beneath a mirror with text that reads “PLEASE FUCK #frieze”.
Downstairs, Lead Pipe, a “metal band” featuring a shirtless Arcadia Missa co-curator Tom Clark on drums, as well as artists Charlie Woolley, Harry Burke and Paul Kneale, play among Leslie Kulesh’s artforum chain decorations, while a hand written poster on DJ Imran Perretta, aka Madboy Zimba’s deck (singular) announces studio visits around his corner of the lounge room (#fuckfrieze). There’s also the promised stack of “good” video art –the “bad” being screened in the perpetually rammed kitchen that I don’t dare enter –called The basis of all structures is the placing, very carefully, of two bricks (Faust was right, have no regrets) curated by Takeshi Shiomitsu. I’m not sure how ‘good’ The Armando Iannucci Shows episode called ‘Twats’ is in itself but the (homo)eroticised initiation of a young protégé into the business world by puffing on his first official phallus in Annika Larsson’s ‘Cigar’ suggests the commentary’s in the context.
The same could be said for the Frieze week art interactions in general, where perceptions of legitimacy are established by a series of ritual gestures and arbitrary signifiers determining social value. Achievements in Swiss Summit exposes said charade as a Gulf Arab “delegation” of nine artists –including Fatima Al Qadiri, her sister Monira, Sophia Al Maria and Khalid Al Gharaballi, among others –descend on Mayfair to congratulate themselves on their oblique accomplishments, buried in political jargon and described as “a High Level Strategic Dialogue”. What the specifics of that dialogue is, is anyone’s guess but it’s in the ceremony surrounding it that the empty concession to economic self-interest is exposed: a display case of glass trophies, proud symbols of accord, and large-scale photos of delegates in thobes, shaking hands, drinking tea and signing papers in the idyllic backdrop of a Swiss village. Here, ‘delegates’ exchange “cordial talks” and discuss a nebulous agenda, while visitors ride the Rolls in circles around the gallery to a looping recording of the collective’s official charter, hijacked from their Gulf Cooperation Council namesake. Meanwhile, in the same way that the chaotic Haus party in Camberwell knowingly celebrates what Darling calls its “post-fordist network of friendly/collegial affect & etc”, so too does the GCC hold on to its in-group interests of art associations, friends and family in a brilliantly-executed and pointless PR exercise.