Two white roses share a vase by: one is natural, one plastic. They were hard to tell apart at the Fair, but with time, the difference will become increasingly evident, bringing a melancholy air to the Paris/Beirut-based Lebanese artist Stéphanie Saadé's typical mediation between real and artificial, which has seen her imitate odd bits of detritus and show them alongside their sources. These 'fake twins' also leave the potential purchaser (£3,000) to decide how often to replace the organic element.
Paul Graham: Mother and Baby, Highgate DHSS, North London 1984, from the series 'Beyond Caring' at Anthony Reynolds, London / Booth A13
One of the 'Frieze Live' performances saw an actor inhabit Czech artist Eva Kot’átková's group of vases, some broken some, some temporarily fixed with visible supports, holders and holes.She moved around, trying then on as containers through which to speak, suggesting physical and psychic restriction and yielding what the gallery described as 'the three-dimensional database of suppressed voices, stage on which part of the bodies and part of objects gain new shapes, meaning, and identity'.
The Norwegian writer and artist Matias Faldbakken has said he sees art 'as the opposite of work, non-productivity in a certain way'. This film works with left-overs from entertainment culture by alternating scenes from two sources which turn out to be uncomfortably linked: the European daily news broadcast 'No Comment' and the show 'American Funniest Homevideos'. The accidental slapstick of the latter, such as this boy about to be toppled from his perch - suggests the foul-ups behind the former, and perhaps the European consequences of American blunders. Will the plane, too, fall down?