Frieze London 2025

Regent’s Park, London

Booth C19

15 – 19 October 2025

Carlos Bunga
Daniel Blaufuks
Daniel Gustav Cramer
Gabriela Albergaria
Joana Escoval
João Louro
Susanne S. D. Themlitz

CARLOS BUNGA

 

Carlos Bunga (b. 1976 Porto) lives and works near Barcelona. He creates process-oriented works in various formats: sculptures, paintings, drawings, performances, video, and above all in situ installations, that refer to and intervene in their immediate architectural surroundings.

 

After winning the Spanish Critics Association Award for Best Artistic Project at ARCOmadrid last year, this year’s selection continues Bunga’s formal language and his highly developed degree of aesthetic care and delicacy. Presenting all new sculptures and paintings, the conceptual complexity derived from the inter-relationship between doing and undoing, between unmaking and remaking, between the micro and the macro, between investigation and conclusion find here full expression.

 

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Carlos Bunga

Upcoming solo exhibition at CAM – Centro de Arte Moderna Gulbenkian

Inhabiting Contradiction

Opening 7 November

 

 

DANIEL BLAUFUKS

 

 

Daniel Blaufuks has worked on the relationship between public and private memory, a constant theme of inquiry in his work as a visual artist, pursued chiefly through photography and video and presented in installations, books and films. In 2007, he published Sob Céus Estranhos (Tinta-da-china) – based on his film Under Strange Skies from 2002 – which earned him the award for best photography book of the year in the international category at PhotoEspaña.

 

His films – “expanded photographs” – have been shown at various film festivals and his latest works examine the resistance to German occupation in Brittany and colonialism in São Tomé and Príncipe.

 

 

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Between 2009 and 2025, I photographed a table and a window in my kitchen in Lisbon. I was first attracted by its silence, later by how the objects received the light, and, finally, by their geometrical composition. I couldn’t help noticing, more and more, how things repeated themselves without truly repeating themselves.

 

Check the Online Viewing Room of Daniel Blaufuks‘s solo show at his former home

Attempting Exhaustion (depois do adeus)

 

DANIEL GUSTAV CRAMER

 

 

Daniel Gustav Cramer’s artistic practice revolves around a multifaceted exploration of the interplay between image, sound, and text. Delving into abstract forms and the relationships between humanity, nature, and the unseen, Daniel Gustav Cramer’s work invites viewers to contemplate the varied dimensions of existence. His creative process unfolds organically, often sparked by incidental moments or extensive research, resulting in works that offer nuanced narratives and evoke profound reflections on the world around us.

 

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Spending time inside these landscapes—the exact locations I stood twenty years ago—surrounded by the same trees, I sensed that my time had moved on. I have changed, and the world around me has changed in so many ways. What I found—the forest—was both foreign and familiar. A fragile place, somehow outside of time and yet at the very center of life itself.

 

 

 

 

 

Daniel’s first exhibition at the gallery in 2007 featured photographs from the Woodland series (2002 to 2009)—a project of landscape photographs captured in locations both near and far. In the summer of 2024, marking twenty-two years since Woodland began, he returned to the forests.

GABRIELA ALBERGARIA

 

Gabriela Albergaria’s work involves one territory: Nature. A nature manipulated, planted, transported, set in hierarchy, catalogued, studied, felt and recalled through the ongoing exploration of gardens in photography, drawing and sculpture. The artist views gardens as elaborated constructs, representational systems and descriptive mechanisms that epitomize a set of fictional beliefs that are employed to represent the natural world. Gardens are also environments dedicated to leisure and study, cultural and social processes that produce a historical understanding of what is knowledge and what is pleasure.

More generally, the images of gardens and plant species employed by the artist are used as devices to reveal processes of cultural change through which visions of nature are produced. Mediated by representation systems they generate different versions of what we see as landscape—itself a complex system of material structures and visual hierarchies, cultural constructs that define the framing of our visual field.

 

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Nature in repair. Processes of recovery. Transformation of nature.

 

These drawings are made from images I took in the Redwoods forest park in California, where the notion of time is felt through a backdrop of centuries-old living and dead trees, creating a stunning fairytale atmosphere.

 

In 2012, I took a road trip up the coast from San Francisco, driving into every pocket of secondary forest. These secondary forests form part of national and state forests and are thus mostly protected by the state.

 

I was interested in witnessing this idea of secondary forest, now free from human exploitation. How does nature recover after being subjected to exploitation processes?

 

I photographed these apocalyptic scenes of fallen giants and in the studio started a series of drawings in which dimension is an essential element. The play between the macro and the micro; the amplification of details towards abstraction, until you almost lose contact with visual reality.

JOANA ESCOVAL 

 

Joana Escoval is a multidisciplinary artist from Lisbon. Her practice circumscribes both aural and visual in the form of sculpture, installation, performance-promenade, video, painting and printed matter. The fluidity of elements and materials, carrying with them charges and vibrations from primary and transient states of matter, is at the heart of her research — not only as an expansion of environmental aspects but also as energetic systems of bodies. Exploring sound as a carrier, her work invites reflection on the connection to the unseen energy fields within new social practices.

 

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channels through which currents course and stream, meeting and joining here momentarily in a synthesis of different parts that form a proportionate and concordant whole, their materiality explicitly on display: metals, magmatic rock, human hair, horse mane, olive tree flowers, lichens. vessels that conduct and carry different states of matter in flux: compounds and preparations awaiting succussion and destined for erosion. contrary to convention, entities, subjects, and matters are not self-contained but consistently unsettled by and through circulation: porous breathing bodies enveloped in the same charged material substance in which they exist, inodorous and invisible. the outer world coming into the body through inspiration and leaving as wind gusts through expiration, joining the world again, only different.

 

 

 

 

Revisit Joana Escoval’s most recent solo exhibition at the gallery

 

Tones of the Spine, 2025

 

 

 

 

JOÃO LOURO

 

João Louro was born in 1963, in Lisbon, where he lives and works. He studied architecture at the University of Lisbon and painting at the Ar.Co School of Visual Art. João Louro’s body of work encompasses painting, sculpture, photography and video.

 

João Louro’s work descends from minimal and conceptual art, with special attention to avant-garde movements of the early twentieth century. It draws out a topography of time, with references that are personal but mainly they are generational. With regular recourse to language as a source, as well as the written word, he seeks a review of the image in contemporary culture, starting out from a set of representations and symbols from the collective visual universe. Minimalism, conceptualism, Pop culture, structuralism and post-structuralism, authors such as Walter Benjamin, Guy Debord, Georges Bataille and Blanchot as well as artists like Donald Judd and the ever-present Duchamp, form the  reference lexical universe  of the artist.

He was the Portuguese representative at the Venice Biennale of 2015, with the exhibition “I Will Be Your Mirror | Poems and Problems”.

 

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In the series Blind Images the viewer is faced with a canvas on which the image has been blanked out, hidden beneath a coating of glossy acrylic and a glass panel that produces the effect of a mirror. At the bottom of the canvas there is a text alluding to or descriptive of the cancelled image, thus provoking different approaches to what is visible or varying perspectives through which one can consider the image; helping us to understand that the gap between words and images is not as great as that which exists between words and objects, or between culture and nature. At its origin this series has the ceaseless saturation of images we undergo nowadays. Louro states that this is due to the “erosion of the word, in which the signified ceases to coincide with the signifier…. The word is a fine skin that has lost its contents.

Current show at the gallery

 

João Louro 

The Origin of the Predatory Animals

 

On view until 8 November

SUSANNE S. D. THEMLITZ 

 

 

Susanne S. D. Themlitz (Lisbon, 1968) lives and works in Cologne and Lisbon. She studied Visual Arts Studies between 1987 and 1995 at Ar.Co. (Lisbon), the Royal College of Art (London) and the Kunstakademie Düsseldorf.

 

In Susanne S. D. Themlitz’s work, drawing is a practice intimately connected to the development of idiosyncratic mechanisms between thought and imagination, therefore, it’s a medium that allows her to explore and feed processes of oddity. Each drawing assumes a cut with the exterior. The off-field doesn’t exist. Everything is inside, in this inner world, with its singular meteorology and with the unique capacity of gathering forces, energies and vibrations that distinguish it as a peculiar reality.

 

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These images, objects and installations by Susanne Themlitz evade certainty, suggesting a previous instant, an appearance or an escape. A world we have stumbled across by accident, that we see from another dimension.  It is not magma that stretches out: it is a walk, a landscape, an interplay of glances, an invitation to curiosity, a not being satisfied by the first image, a discovering of micro-worlds, reflections, open windows, holes that open into other realities. An ongoing, self-nourishing and unending narrative.

 

Susanne S. D. Themlitz

The Language of Silent Things 

Curated by Miguel Fernández-Cid

MARCO de Vigo, Spain, 2024-25

 

Online viewing room here

 

 

Upcoming exhibition at the gallery: Susanne S. D. Themlitz 

November 2025