A contradiction to deal with: Frieze is expected to show museum quality pieces as well as to show provocative, adventurous art.
For this edition "Art was less ambitious, but still selling" (the Art Newspaper/Frieze Art Fair Daily). Dealers can afford to be more ambitious. This show is exceedingly strong for emerging artists. American buyers hobbled by the weak dollar concentrated on American galleries.
For its fifth edition, Frieze Art Fair held in Regent's Park London, featured 151 galleries representing 28 countries from Europe to South America, Asia and USA showcasing over 1000 artists.
With its high scale events Frieze contributes to raise public awareness of contemporary art, helps young artists and significantly contributes to London's economy. All the events around Frieze made it more than a fair, and turned it into a larger event where art is made and cultural agenda is set. "Frieze has played a key role in helping to make London one of the leading centres of the artworld." Said the Director of Tate.
Actually, Tate continues to contribute to Frieze success while buying every year for its Fund works of major artists during the fair. Four pieces were bought this year for a budget of £150.000. The Museum für Moderne Kunst in Frankfurt bought four pieces as well, a large sculpture of a windmill by Slominski, a two-screen slide projection by Armando Andrea Tuleda, a series of black and white photographs by Mauro Restiffe and an installation by Pawel Althamer.
Whilst the number of important international collectors attending the fair and sales continue to exceed expectations, Frieze Art Fair has also proved to be extremely popular with artists and curators.
The keys of this success rely on a search for coherency and desire to be both creative and selective, even though if the balance is difficult to maintain: Selection of the world’s most exciting contemporary art galleries, close attention paid to serious collectors, a big part of them coming from Europe and USA as well as a programme likely to appeal to newcomers in art. Specially commissioned artists’ projects and an ambitious talks programme, a vast presentation of sculptures in the Sculpture Park, an annual curatorial programme, the Cartier Award, yearly event to promote an artist, films, music…
The latest news from the fair tend to confirm the high level of sales which do not seem to have been affected by the monetary and financial crisis, though the stock market fall in August made everyone more aware of the value of money. Some experts fear that the effect of this crisis might affect 2008 art market, at least this will entail a sense of reality and a desire to be on sure ground. We already note some return on tried and tested media, such as sculpture and painting, and virtually less photography and no video on offer.
For its fifth edition, Frieze Art Fair held in Regent's Park London, featured 151 galleries representing 28 countries from Europe to South America, Asia and USA showcasing over 1000 artists.
With its high scale events Frieze contributes to raise public awareness of contemporary art, helps young artists and significantly contributes to London's economy. All the events around Frieze made it more than a fair, and turned it into a larger event where art is made and cultural agenda is set. "Frieze has played a key role in helping to make London one of the leading centres of the artworld." Said the Director of Tate.
Actually, Tate continues to contribute to Frieze success while buying every year for its Fund works of major artists during the fair. Four pieces were bought this year for a budget of £150.000. The Museum für Moderne Kunst in Frankfurt bought four pieces as well, a large sculpture of a windmill by Slominski, a two-screen slide projection by Armando Andrea Tuleda, a series of black and white photographs by Mauro Restiffe and an installation by Pawel Althamer.
Whilst the number of important international collectors attending the fair and sales continue to exceed expectations, Frieze Art Fair has also proved to be extremely popular with artists and curators.
The keys of this success rely on a search for coherency and desire to be both creative and selective, even though if the balance is difficult to maintain: Selection of the world’s most exciting contemporary art galleries, close attention paid to serious collectors, a big part of them coming from Europe and USA as well as a programme likely to appeal to newcomers in art. Specially commissioned artists’ projects and an ambitious talks programme, a vast presentation of sculptures in the Sculpture Park, an annual curatorial programme, the Cartier Award, yearly event to promote an artist, films, music…
The latest news from the fair tend to confirm the high level of sales which do not seem to have been affected by the monetary and financial crisis, though the stock market fall in August made everyone more aware of the value of money. Some experts fear that the effect of this crisis might affect 2008 art market, at least this will entail a sense of reality and a desire to be on sure ground. We already note some return on tried and tested media, such as sculpture and painting, and virtually less photography and no video on offer.
Edith Herlemont-Lassiat
London, October 2007
London, October 2007
