Lisson Gallery at Frieze Los Angeles 2025

12 February 2025

Lisson Gallery is pleased to participate in Frieze Los Angeles 2025, presenting a dynamic selection of works from the gallery’s international roster of artists including Kelly Akashi, Olga de Amaral, Carmen Herrera, Hugh Hayden, Hélio Oiticica, Wael Shawky and Hiroshi Sugimoto. The beginning of 2025 brought heartbreaking devastation to many Angelenos, and this year’s presentation honors the resilience and creativity that define the city.

A highlight of the presentation, Wael Shawky’s The Gulf Project Camp: Carved wood (after ‘Nighttime in a City’ by Mir Sayyid Ali, c.1540) (2019) draws inspiration from the sixteenth-century Persian manuscript referenced in its title. This marquetry wood panel mirrors the intricate details and shifting perspectives of its historical reference, highlighting the virtuosity and social richness of the Safavid era. Shawky’s presentation at Frieze coincides with the U.S. premiere of his film Drama 1882 (2024) at The Museum of Contemporary Art, Los Angeles, which originally debuted at the 2024 Venice Biennale as the centerpiece of the Egyptian Pavilion.

Elsewhere in the booth, Lisson Gallery presents work by Carolee Schneemann’s work for the first time with Green Line (1983), part of her Lebanon Series (1981- 1999). Paintings from this series, also referenced as Dust Paintings, will also be on view at Lisson Gallery Los Angeles this April for the artist’s debut solo exhibition with the gallery since announcing representation of her Estate last year.

Elsewhere in the booth sits sculptures by Kelly Akashi. Their inclusion in the booth runs concurrently with Akashi’s inaugural solo exhibition at Lisson’s Los Angeles gallery in which the artist presents a triumphant new body of work incorporating glass, earth, stone, lace, and bronze—materials that reflect both personal histories and the broader landscape of transformation. The exhibition was originally set to open a few weeks prior however, in early January, Akashi’s cherished home and studio were among the many losses suffered as wildfires tore through Los Angeles.

Painting No. 3, 2022 (4.8.22) (2022) by Oakland-based Oliver Lee Jackson is on display ahead of his first exhibition with Lisson, opening in London this April. Nearby sits Olga de Amaral’s Entorno azul 2 (1986), a deep blue and gold sculptural screen made from dyed hand-spun wool and horsehair from the artist’s Entornos series. These works, created between 1986 and 1995, incorporate light as an ephemeral medium, generating ever-shifting compositions across their woven surface.

Preceding the upcoming solo exhibition The Paris Years: 1948 - 1953 at Lisson Gallery New York this spring, Carmen Herrera’s La Mancha (2010), a circular acrylic painting on canvas, is on display. This comes shortly after the announcement that Dr. Jill Biden acquired one of Herrera’s works for the White House Collection, making Herrera the first Latine American artist included in the permanent collection.

An early work by Hélio Oiticica, Untitled (Pre-Neoconcreto) (1959) is included on the booth. These gouaches on cardboard demonstrate Oiticica’s radical experimentation with geometric abstraction. His work at Frieze anticipates his forthcoming inaugural exhibition at Lisson Gallery Los Angeles in Fall 2025.

Also on view, Hugh Hayden’s Short and Stout (2024), a sculptural work made from rattan, metal rim, and painted PVC. Hayden, whose practice often explores themes of adaptation and transformation, presents this work in tandem with his participation in the Sharjah Biennial. Additionally, the booth will feature a mathematical model sculpture and works from Hiroshi Sugimoto’s Opticks series, presented on the heels of his recent Los Angeles exhibition.

Finally, the presentation features Elaine Cameron-Weir’s long deceased is nevertheless a contemporary, talking thru the door (2024). Made from a WWII nylon parachute, stainless steel laboratory lattice, and bound leather, the work subverts the original function of its materials, suggesting an alternative vision of utility and preservation.