For Frieze Week, conceptual-art queen Laure Prouvost has transformed the space into an “institute of un-learning.” We pass through a bureaucratic queue into an installation in which a series of diptych paintings act like flash cards, teaching us to attach new meanings to certain pictograms. We have fun un-learning our own language and re-learning Prouvost’s lexicon, which tells us that a picture of a shoe means “car” and a roll of duct tape is “bicycle.” A picture of a face mask symbolizes “breathing.” The exhibition 00s. Collection Cranford : les années 2000 focuses on this as yet unexplored decade, which has still to be fully defined. For this reason, the works in the exhibition will be presented chronologically. A timeline will chart the key events of this period and connect them to paintings, drawings, photographs, sculptures and videos from this prestigious collection. The star-studded film is directed by Richard Lester ( A Hard Day’s Night, Help!) and to accompany the release, the equally thrilling sequel, The Four Musketeers, has also enjoyed the same 4k treatment. Whilst attempting to foil the Cardinal’s plans, D’Artagnan finds himself also juggling affairs with both the charming Constance Bonancieux (Raquel Welch) as well as the passionate Milady De Winter (Faye Dunaway), a secret agent for the Cardinal…. Cranford Collection’s installations are open to the public by appointment and are the setting of numerous visits by museum boards, curators, artists as well as educational programs.

Their acquisitions began seriously in 1999, when Muriel, with the help of Andrew Renton, started touring the East End galleries and absorbing the fervour of young artists who were then emerging in London. “I’d been closely involved with these people like Damien Hirst and Sarah Lucas who were becoming superstars,” says Renton, an art advisor and curator who was also finding his own way as he established the first curating course at Goldsmiths’. “Those were exciting times.” It’s testimony to the quality of the work they collect, as well as their generosity in lending it out. “It’s the responsibility of a collector,” says Muriel Salem, “to look after an artist’s work, to show it, and to share it. Nearly everything in this house has been in a fabulous museum at some point.” will offer a reading of the world through art (or of art through the world) with the aim of teasing out an image of a decade which remains loosely defined, and of establishing whether a coherent relationship emerges between works whose only apparent connection is the era in which they were created. By placing the emphasis on volume (with approximately one hundred exhibited artworks), the range of mediums, as well as the diversity of the artists’ ages and nationalities, the exhibition will establish a dialogue between art and topical issues, and seek to reveal how the 2000s have transformed our global cultures, geopolitics and economy, as well as our ecological awareness. Muriel Salem isn’t at home when I visit her Regent’s Park residence on a rain-soaked autumn day. In spite of Covid, she is in Montpellier, where an exhibition of artworks selected from her and husband Freddy’s collection is about to go on show at MO.CO – a public museum without a collection of its own. The film was received as enthusiastically as its predecessor and garnered an Oscar nomination for Best Costume Design – marking the first time that a sequel received a nomination when its predecessor was overlooked

Damien Hirst’s ‘Murderme’ Collection finds a permanent home – London

Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. It doesn’t take long to reach our first stop. While the physical fair is off, Frieze has decided to mount its sculpture park in Regent’s Park anyway. A s we pass an oversize green door by Gavin Turk and a playful concrete sandwich by Sarah Lucas, s he opens up about her introduction to collecting in the early 2000s, which began with the acquisition of an altered piece of Eames furniture by the Scottish sculptor Martin Boyce.

Timeless Classics : a jewel of Victorian publishing designed to occupy a permanent place on our bookshelves

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We bid adieu to Langret, who is late for a Zoom talk, and head a few streets over to Pippy Houldsworth Gallery. While the gallery is technically not part of the official Frieze program, Salem is keen to catch the show of the rising star painter Jadé Fadojutimi. The curator of the collection, Anne Pontégnie, who has been working with the Salems for nine years, explains that this hang reflects the collectors’ own evolution. “A lot of women and under-appreciated artists of the 20th century are now being reconsidered,” Pontégnie says. “We really embraced that, and it has opened up new dimensions for us into recent art history.” Langret joins us on a trip to Mayfair to see the first UK solo show by American painter Dana Schutz at Thomas Dane. On the way, Salem confesses that Schutz is one of the artists she has been eyeing for the collection for years.