Permission to fall is a performance that triggers an event evocative of sculpture that occurs through unexpected encounters. For the first time in the history of Frieze Sculpture, an artist has been commissioned to create a performance work. Connected to the conception and experience of sculpture, Permission to fall will take place at the weekend, in the afternoons at unspecified times. The non-descriptive nature of this announcement is intended to blur the boundaries between routine, everyday acts, events and art encounters. 

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Eduardo Terrazas design for the 1968 Olympics in Mexico, is included in the exhibition When the World Is Watching at the San Francisco Museum of Modern Art. 

“ Major international competitions where athletes compete as members of a national team are highly anticipated and widely watched media events. Such tournaments find participants facing their fiercest competitors, and often befriending them. Host cities invest in building state-of-the-art arenas, transportation, and hospitality to increase tourism. Nations finance research and development of performance sports gear, like the racing wheelchair and hydrofoil sailboat on view here, which in turn influence the sporting goods made available to the public. Given the global attention, many athletes take the opportunity to surface inequities they have encountered for broader perspectives and debate. In addition to showcasing the highest level of performance, international games spur innovations in design and urban planning, and significant discussions that influence broader social progress. "
– SFMoMA

The exhibitions is on view from the 17^th of August 2024  to the 4^th of May 2025

A site-specific intervention by FOS at the Anahuacalli Museum in Mexico City.   

The project combines sculpture, architecture, design, and music to create a space that fosters reflection and discussion on the concept of Justice and the creation of laws as manifestations of social cooperation.    

Architecturally, ABOGADO is conceived as a 10 x 10 meter plan volume that symbolizes the structure within which we organize ourselves as a society. Inside, it houses enough space to carry out activations through the public program and the presence of visitors. The pavilion is oriented in the space in relation to the Anahuacalli museum building. The entrance of the pavilion welcomes the public entering the esplanade, and the exit coincides with the main entrance of the museum, connecting both buildings.    

For this intervention, artist FOS was inspired by one of the multiple facets that the Anahuacalli and the City of the Arts project conceived by Diego Rivera had in their origins: to provide space for reflection on relevant topics and artistic and cultural expressions of the contemporary world, as well as to provide a space where different crafts and disciplines could coincide. Taking this as a starting point, FOS sought to create a space to think about our coexistence in freedom under the law, as well as our ability to re-imagine and redesign a future based on our past and present, maintaining ourselves as a free society.   

The roof of the pavilion is composed of magnified fragments of Mesoamerican pieces belonging to the Anahuacalli museum collection, thus integrating the history of the place and the original vocation of housing Diego Rivera’s collection.    

As in most of FOS’ previous works, this space conveys the history of the place through signs and references. When entering the pavilion, the public will be covered by fragments of artifacts from their own history.

The exhibition is open from July 20 to August 11, 2024

Tove Storch’s work “Untitled” (2024) is part of the exhibition “SAMMENBRUD” at Ved Skoven, on view until September 1, 2024.⁠ ⁠

A long row of rusted iron rods rests like heavy wet ropes over two transverse bars. The hard individual parts fuse together like threads in a huge piece of textile that is hung to dry. The threads resemble a drawing, a transparent sculpture, simply made up of lines.⁠ ⁠

Photo: Malle Madsen⁠

For Heartland Festival 2024, Tove Storch created a site-specific installation for people to interact with while washing their hands at the festival site.⁠ ⁠

With this work, Storch set the stage for a grand communal ritual performance, where the audience could rub their wet hands up and down soft, smooth sculptural forms. Storch emphasized the sensory experience, highlighting the intense interaction between the body, hands, and imagination with the object.⁠ ⁠

Photo: Anne Mie Bak 

Lea Porsager’s work “OFFSHORE G.O.D. [Generator. Organizer. Destroyer.], Remains.” (2024⁠) is part of the exhibition ”After the Sun — Forecasts from the North” at the Buffalo AKG.⁠ ⁠

The exhibition is curated by Helga Christoffersen, and is on view through August 19, 202⁠4.⁠ ⁠

Photo: Brenda Bieger⁠ ⁠