Culture / Reportage
Lilian Camelli: the rooms we carry with us
Between Paraguay and Brazil, a painter turns family photographs, empty interiors and lace into a language of memory.
Reportage / London
The archive account found different conditions for looking across Frieze London, Masters and Sculpture.
FROM THE WAYFARER BRAZIL ARCHIVE / English adaptation. Date shown is the original publication date.

An art week is not one room enlarged. WAYFARER Brazil’s October 2023 Frieze account moved between the fair, its historical counterpart and outdoor sculpture, finding different conditions for attention in each.
At Frieze London, the source described Barbara Kruger’s graphic work and Yinka Shonibare’s patterned forms. Text, image and historical references supplied ways of questioning the visual material already circulating outside the fair. The gallery booth placed those propositions within a dense sequence of encounters.
Frieze Masters introduced another range of objects and periods. The Modern Women section brought artists including Maria Lai and Faith Ringgold into the account, suggesting that a historical frame can also be an opportunity to reconsider who is represented within it.
In Regent’s Park, Frieze Sculpture changed the physical terms of looking. Distance, grass and the route between works entered the experience, alongside Fatoş Üstek’s curatorial selection. This remains an account of the 2023 programme, not a current visiting guide. Its useful distinction is spatial: a work changes its encounter with the viewer when the surrounding room changes, and an outdoor setting makes that relationship particularly difficult to ignore.
Adapted from the WAYFARER Brazil archive, first published 2023-10-17. English adaptation: 6 October 2026. This is an archival account, not a report of a new visit. Exhibitions, collections and menu details are described in their original context, not as current availability.
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