Monday marks the end of Frieze New York as galleries, artists and collectors alike are setting the course towards Venice Biennale.
Yet in a year that became infamous for it’s tight schedule the NY edition didn’t disappoint- especially when it came to the financial part. Despite inclusion of more than 200 galleries from 30 different countries the absence of European and Asian collectors was palpable, putting an early strain on the fair- which while being more timid than previous years in turn reported strong sales in it’s early onset,thus resulting in an atmosphere that exuded ease and nonchalance. Offering more than an elemental fair contingency- the beauty of Frieze lies in it’s mix of curated content and experience. It is the serpentine like space itself that prompts a more directional approach as the galleries and directors work closely together on the selection of artist and works portrayed. The bright white space, at times so bright that sunglasses indoors are necessary, may for the unacquainted with the fair impose an image of playboyian character- a collector lurking around for the newest thing to add to his fêted compilation, yet Frieze’s content heavily disputes the notion. And the rainy weather subtracted from the blinding whiteness that radiates from the tent as sun emerges.
While the airiness, light wood and strongly represented pastels might serve as a crowd bait, the all over content delves in the realm of trailbalzing emerging artists, veterans and modernist masters alike.
LIZA LOU Untitled, Pink:Gold, 2012 at Lehmann Maupin
Expanding the Spotlight section from 16 to 31 boothes in the Spotlight section, Frieze provided a fantastic opportunity for galleries to show artist whose work is limited thus minimizing the possibilities of a full gallery exhibition. And alongside the more classical and very static gallery-booth model, Frieze is as always very clever to offer a series of installations and performances. The most talked about is notable re-installation of projects from Galleria La Tartaruga, an experimental gallery from the 50’s that allowed only one performance to be shown each day – posing the question to the artist of what you would if you only had one day to stage performance.
Below we round-up MINT’s favourite moments at the fair.