Exhibition: 22–24 October 2012
Closing reception: Wed 24 October 2012 6–8pm
Auction closes at 8pm on Wed 24 October 2012
Venue: HANMI Gallery, Fitzrovia, London
The 2012 edition of Sluice art fair will manifest itself as a publication and an exhibition in which all of the work will be auctioned. The whole event will function as a fundraiser for Sluice art fair 2013. The Sluice publication will be launched on the evening the auction draws to a close on the 24th October at HANMI GALLERY in Fitzrovia, London.
Frieze Project – Thomas Bayle’s work covering the fair’s entire entrance corridor. Photo by Marie Roux
Text by Marie Roux
The 10th edition of Frieze art fair closed its doors on Sunday night, comprising this year of two tents on opposite side of Regent’s Park.
Frieze 2012 gathered 175 galleries from 35 countries surrounded by outside artworks selected this year by Yorkshire Sculpture Park director Clare Lilley. Frieze Masters showcased 79 galleries with works ranging from antiquity, Renaissance masters through to 20th century art. The veritable feast for the eyes offered an escape from the frenzy of the contemporary art tent across the park.
Frieze Art Fair 2011. Photo by Linda Nylind. © Linda Nylind/Frieze
This year’s Frieze Art Fair London celebrates its 10th anniversary, with a ceremony already marked by the launch of Frieze New York in May earlier this year. This week begins another sibling event with Frieze Masters making its debut. Frieze Masters is dedicated to art ranging from antiquity to 20th century masters presented by over 100 galleries from 18 different countries (79 in the main section & 22 in the Spotlight section, committed to solo 20th century artist presentations). “Frieze Masters will attract the world’s most adventurous and imaginative art collectors to London”, says Nicholas Penny, Director of the National Gallery. “The fair is designed to revolutionise the relationship between ancient and modern, old and new” Frieze Masters also stocks a brilliant line up of talks, matching Cecily Brown with Nicholas Penny, Luc Tuymans with Dominique de Font-Réaulx, senior curator of Musée de Louvre and Glenn Brown with Bice Curiger, curator of Kunsthaus Zürich & editor-in-chief of Parkett magazine. Frieze Masters is flanking Frieze London on its north side, next to the London Zoo. The 12,500 square metre temporary architecture is setup by Selldorf Architect, renowned for designing art spaces whose clients include galleries such as David Zwirner, Barbara Gladstone as well as studios for Jeff Koons and David Salle.
Kodoji Press at the New York Art Book Fair 2011. Courtesy of the New York Art Book Fair
The seventh edition of New York Art Book Fair starts this Friday 28 September following its Preview opening on Thursday 7–9pm (TONIGHT!) at MoMA PS1.
The three day event offers free admission for all and houses over 280 international presses, booksellers, antiquarians, artists, and independent publishers from over twenty countries presenting artists’ books, catalogues, monographs, periodicals, and magazines.
Side A – David Shrigley “It’s All Going Very… (2010)” Anton Kern Gallery, NY
Barbara Kruger “Too big to Fail” (2012) at Sprüth Marger, London/Berlin.
Jeppe Hein “You Are Right Here Right Now” (2012) at Johann König, Berlin
Sophie Von Hellerman’s work at Greene Naftali (NY)’s booth.
Can’t get much sunlight there… David Maljkovic’s work at Metro Pictures, NY
As the yellow taxi boat approached Randall’s Island northwards on East River which runs between Manhattan and Queens, a long white structure makes an appearance, yet unwilling to disclose its content until landing on the seemingly deserted island. Once docked, scores of smartly clad art lovers tread off the taxi boat and into the snaky tent designed by Brooklyn based architect duo SO-IL, but not before walking through a waterside sculpture garden comprising works from James Angus, Joshua Callaghan, Louise Bourgeois, Ernesto Neto, Ryan Gander and so on.
View from the Frieze boat approaching towards Randall’s Island
Adjacent to the venue’s south entrance stands “Shoe Tree” by Swiss artist Christoph Büchel, possibly in support of Occupy movement’s protest rally underway just outside Frieze’s official $20 per vehicle parking lot. Büchel participated in the sculpture garden by placing shopping trolleys stuffed with newspapers and plastic bags behind Subodh Gupta’s bronze stature “Et tu, Duchamp?” Büchel actually bought the trolleys from homeless people for $350–500 a piece. Without any indication of artistic intent (we later found out these are entitled “1%”), Büchel’s piece of quiet resistance will be remembered as one of the most provocative works in the fair, even before entering the main event venue. In addition to the sculpture park, other exterior Frieze projects included Ulla von Brandenburg’s colourful tent for shadow play, Joel Kyack’s carnavalesque van, themed: “Most games are lost, not won”, Uri Aran’s performance shack and many more.
Frieze enterprise co-founder Amanda Sharp was enquired a few of years ago by the press, with: “What distinguishes the Frieze from any other art fair?” her straight and simple answer said it all: “It’s Cutting-Edge, [stupid]”. The British born and bred art fair is this year already celebrating its 10th anniversary edition, starting in 2003 as an offspring of Frieze magazine, also published by Sharp and co-founder Matthew Slotover. The fair’s accelerated success briskly grew into one of the most important art events on the global calendar, contending with Art Basel and Armory. In less than a week’s time, the very first edition of Frieze New York (FNY) will cut its inaugural ribbon on Randall’s Island to roll in the four-day art extravaganza. Some news sources have so far depicted Frieze New York as another ‘British invasion’, a tale supported by Sharp and Slotover’s recent OBE (Officers of the Order of British Empire) appointment by the Queen, at the very start of 2012. The real question is: How will Frieze shake up New York’s existing art establishment?
Shayne Dark’s sculptures, Critical Mass welcome the audience at the entrance of the fair.
PAPIER offers a refreshing aspect to the widening proliferation of art fairs by featuring works exclusively produced on paper, from drawings to prints as well as photography. This year the PAPIER fair hosted its fifth edition on 13–15 April, setting up its showroom tent at the heart of Montreal’s cultural quarter to accommodate 38 exhibitors from Montreal, Quebec, Toronto, Ottawa and Halifax. Many of these were already members of AGAC (Contemporary Art Galleries Association), which organized the event. Although PAPIER started as an internally guarded affair, servicing only a small circle of local galleries, its reputation has been progressively expanding. From last year, some of the best Toronto galleries such as Birch Libralato and Susan Hobbs also joined in. In this edition over 400 emerging to established artists were represented, to attract more than 10,000 visitors with a total sale of approximately CA$700,000. The slightly higher income over last year included purchases from returning corporate collectors such as Loto-Quebec, Hydro-Quebec, Cirque du Soleil and so on.