Review in Art Agenda: Orit Gat on the Frieze Art Fair, London Here’s how you make the most of an art fair booth: hang two-dimensional works on the walls you’ve got, place a large sculpture on the floor in the center, locate a round table with a few chairs in a corner. The result of such standardization is the rise of fair work, which attracts attention by way of scale or repetition. Its most prominent characteristic is its reaction to the architecture of its surroundings through large wall pieces. True to form, the Frieze tent allows artists numerous opportunities to interfere with the temporary structures. Gedi Sibony has hung a ragged brown-gold carpet from the top of Vienna’s Galerie Meyer Kainer’s wall (The Beginning is Near, 2008), allowing it to reach the floor where it is layered over the uniform gray carpeting. Elsewhere, works are attached directly to the light fixtures’ railings, as with Olafur Eliasson’s immense stainless steel ball, Schools of movement sphere (2014) at Tanya Bonakdar, New York, and José Damasceno’s Grua (2010), in which a heavy, rusty hook supports an acrylic disc at Galeria Fortes Vilaça, São Paulo. Others opt for a series of identically framed works meant to make an impression together but sell separately (like the three beautiful untitled Sarah Crowner abstractions, all 2014, hanging side by side and framed in different colors at Galerie Catherine Bastide, Brussels). art-agenda/reviews/frieze-art-fair-2/
Posted on: Wed, 15 Oct 2014 23:30:00 +0000