In: Art Fair
October 18, 2017
Much of the contemporary performance art at this year’s Frieze Londons explored the notion of identity and the final day of the fair was no exception. Frieze offered a series of multi-disciplinary performances navigating themes of race, gender, and sexual orientation.
Kicking off the afternoon’s performances was Leeds-born YBA Georgina Starr, staging her work in the UK for the first time in ten years. The piece, titled Androgynous Egg, took inspiration from the artist’s novel Empress 66 99 and incorporated an array of artistic practices, including puppetry, choreography and acapella melodies in both English and French.
The performers showered viewers with repeated words, fragmented phrases and an array of sounds, color, and visuals to create a surreal experience. Reminiscent of Dada sound poems, the experience felt almost claustrophobic in the purpose-built art fair filled with artistic objects.
Then it was time for the afternoon’s headline event: The Singing Lecture, performed by two vocal artists. First up was American cabaret performer Mx Justin Vivian Bond. Accompanied by the acoustic guitar, her lyrics explored themes of sexual orientation, gender identity and reconciling religious beliefs while each song featured candid anecdotes and musings.
Following Mx Justin Vivian Bond was Angolan/Belgian artist Nástio Mosquito, performing a vocal piece in collaboration with Martin Hirsch of the Bauhaus University, Weimar. A mixture of spoken words and songs, the performance explores echoed and looped, building layers of meaning.
Concluding the fair’s series of performance interventions was a queer art collective SPIT! (Sodomites, Perverts, Inverts Together!). Founded by Carlos Motta, John Arthur Peetz, Carlos Maria Romero and the performance was staged by performers Joshua Hubbard, Carlos Mauricio Rojas, Claudia Palazzo, Malik Nashad Sharpe, Daniel Brathwaite-Shirley, and Despina Zacharopoulou.
Having been invited to create a new performance piece to be premiered at this year’s fair by Raphael Gygax (Curator at Migros Museum of Contemporary Art, Zurich and Frieze Project 2017 Curator), Carlos Motta and his fellow artists developed work in two parts exploring gender-based discrimination and oppression. First came The SPIT! Manifesto Reader, a collection of queer manifestos dating from the 1960s to the present. Then a performance intervention took over half a decade of queer activism. The starting point of the movement was to create blending choreography, songs and spoken words in an attempt to highlight discrimination and oppression based on gender and sexual orientation and to negotiate contemporary queer politics.
Though manifesting in starkly contrasting ways, all the Frieze London 2017 performances used the human voice to challenge societal norms and to explore identity politics, some more concretely than others.
October 6, 2017
This year, apart from the usual household names, Frieze London offers a strong contingent of emerging artists represented by young galleries.
Here are five artists to watch at Frieze London this year:
Swiss artist Tobias Spichtig’s multi-disciplinary work aims to capture the psyche of contemporary society. Combing elements of the figurative, the abstract and the surreal, most of the works on display are shown for the first time at Frieze. This year he is represented by German gallery Jan Kaps, which can be found in the Focus section of the fair along with 31 other young galleries.
Jan Kaps, booth H20
Forming part of their series of “Survival Pieces,” the original portable orchard comprised twelve citrus trees, houses in hexagonal boxes above which individual lightboxes provided the vital ingredient. The installation was designed for the art gallery of the California State College at Fullerton and was nicknamed “the last orange orchard in Orange County” due to urbanization in the region.
See photographs, diagrams and plans of the original work and recreations of the trees themselves at the Various Small Fires (LA) booth.
Various Small Fires, booth H28
As part of Frieze projects, South African performance artist Donna Kukama presents an interactive installation co-commissioned by the Middlesbrough Institute of Modern Art. With a backdrop of medicinal plants, audience members are invited to interact with the artist through candid conversations on the nature of value.
Kukama’s installation can be found just outside the main entrance to the fair (P1)
Kiluanji Kia Henda
Frieze Artist Award recipient Kiluanji Kia Henda’s immersive installation explores notions of personal identity and heritage in the context of Angola’s western colonization, the Cold War period and the country’s relationship with the USSR. The work draws parallels between the widespread practice of witchcraft during the Angolan Civil War and science fiction narratives employed during the Cold War. Soviet iconography is juxtaposed with traditional craftsmanship in this interdisciplinary installation.
Frieze Artist Award is situated between booths B1 and B2
Regina José Galindo
This multi-media selection of video, drawings, and photography by Guatemalan artist Regina Galindo explores a wide array of themes. These themes include gender, the environment, immigration, violence, and labor in the context of post-war Guatemala. If we look at Galindo’s work as a whole, her work can be read an interrogation of the relationship between neoliberalism and the human body. Represented by Proyectos Ultravioleta, the selection of work also features the international debut of José Galindo’s bilingual poetry anthology ‘Dejen de disparar / Stop Shooting,’ presented for the first time to an English-speaking audience.
Proyectos Ultravioleta, booth H19
Frieze Art Fair is taking place in Regents Park, London, From Thursday 5th October – Sunday 8th October 2017
May 20, 2017
Photo London is only in its third year, but this sprightly young fair does not disappoint in the quality and breadth of the work on show. Eighty-nine galleries present a diverse array of emerging artists and established names in this four-day festival. Here are some of our favourites.
1. Michael Wolf, ‘Tokyo Compression’
This series of uncomfortable, claustrophobic images depicts one of the many unpleasant realities of life in the metropolis. Catch it on display at the Flowers Gallery booth.
2. Stephen Shore, ‘Warhol and The Factory’ (1965-67)
A vintage series presented by Sprüth Magers Gallery captures glimpses of an “off-duty” Andy Warhol and his companions shot in and around The Factory.
3. Photo London Master of Photography 2017: Taryn Simon
Taryn Simon’s ‘Image Atlas’ is an interactive “work-in-progress” exploring the idea of a universal visual language. Using search engine data from around the world, Simon examines the fluidity of reference and the constant changing of meaning attached to images, in a work that interrogates the impact of censorship on our perception.
4. Discovery Galleries
This year’s edition of Photo London highlights the work of new galleries that are between one and five years old, with sixteen stands making up the ‘Discovery Galleries’.
5. Jacob Aue Sobol’s ‘Road of Bones’, presented by Leica Camera
Shot along the Kolyma Highway in Russia, Jacob Aue Sobol captures life in one of the coldest inhabited regions of the world. Using Leica X and Leica M Monochrom cameras, Sobol starkly portrays the bleakness of an area once notorious for its Gulag camps.
6. Michael Hoppen Gallery
Michael Hoppen Gallery presents an engaging selection including Siân Davey’s series depicting the innocent pleasures of youth over a British summer, and the timely “Brexit Wall” offering photographs capturing the essence of ‘Britishness’.
7. Alison Jacques Gallery
This year’s highlights from Alison Jacques Gallery include lightbox images by Catherine Yass from her ‘Decommissioned’ series and Juergen Teller’s brooding portrait of Kristen Stewart for System Magazine.
8. Galerie Johannes Faber
This Viennese gallery presents a selection of photographs from before the digital age, including works by Man Ray, Germaine Krull, Dennis Hopper and Horst P. Horst, among others. The elegant, more conservative compositions in black and white offer a sobering contrast to the abundance of technology-heavy works across Photo London.
9. Isaac Julien, ‘Looking for Langston’
At the Victoria Miro booth, Isaac Julien combines digital and analogue pre- and post-production techniques in a series of stills from his film ‘Looking for Langston’, which explore black queer identities.
10. Mat Collishaw, ‘Thresholds’
Mat Collishaw debuts his ambitious project ‘Thresholds’. The immersive, multi-sensory installation uses a virtual reality headset to recreate the 1839 exhibition of photography staged by the British Association for the Advancement of Science. In collaboration with Blain|Southern Gallery –which simultaneously displays some of the artist’s recent works in The Centrifugal Soul–, Collishaw uses 21st-century visual technology to bring to life the cutting-edge photographic technology of two centuries ago and introduce virtual reality as part of the evolution of the photographic image. Collishaw’s work juxtaposes the scepticism that photography once faced with our modern anxiety towards new forms of technology and artificial intelligence. If you missed it at Photo London, ‘Thresholds’ will be on display at Somerset House until 11th June.
Can’t afford the price tag of an original print? A strong contingent of publishers, including TASCHEN, teNeues and Thames & Hudson, offer up their latest photography publications in the fair’s central pavilion. Check them out!
Photo London is at Somerset House, The Strand until Sunday 21st May.
“I feel like everyone wants me to give them some drama about this show,” Touria El Glaoui, Founding Director of 1:54 Contemporary African Art Fair, said with a laugh, “but it’s actually been one of the easiest set-ups…with New York, there’s this window of opportunity and visibility for the artists and a unique engagement with institutions that you don’t really see in any other city.”
1:54 was founded and organized by Moroccan curator Touria El Glaoui to improve the representation of contemporary African art worldwide. Now, 1:54 is the foremost art fair dedicated to contemporary African art in the primary art market, showing in London during the October Frieze Week since 2013, and 1:54 NY during the May Frieze New York since 2015. Entering its third year in New York, 1:54 NY is showcasing over 60 emerging and established contemporary artists, bringing 19 international galleries together from 10 countries.
1:54 is a ratio that runs parallel to the entirety of the fair’s mission, representing the entirety of Africa: 1 continent, 54 countries. As the title suggests, 1:54 tries to preserve rather than blend together the differences between each country’s histories and cultures. Taking a look at this year’s 1:54 NY, the fair exemplifies its goal in representing individual countries, illustrating local development with global engagement, while connecting to common themes such as female representation, a hugely controversial topic in America as well as worldwide.
The role of gender identity and the fragile state of humanity come up in many of the pieces, always based from the African perspective, which within these topics play a fascinating role. For instance, Lawrence Lemaoana, an artist from South Africa represented by Johannesburg-based Afronova Gallery, creates graphic works that critically engages with the media in present-day South Africa. He views the relationship between media and the people of South Africa as extremely problematic and expresses this view through his trademark cynicism emblazoned on kanga fabric, a traditional fabric with its own complex history. In one of Lemaoana’s kanga canvases at 1:54 NY, the phrase “MY FATHER WAS A GARDEN BOY” reflects upon the time of Apartheid when the easiest job for a man to get was a gardener, and those who worked as gardeners were called “garden boys” by their white employers. Lemaoana brings up a part of South African history on a piece of fabric that lines modern day streets at markets. Kanga fabric is also considered to be a female cloth, so along with telling the story of his father in the past, Lemaoana is toying with gender identity and who the use of this fabric is truly for.
Nigerian-American artist Wura-Natasha Ogunji’s diasporic view and love for the fusion of opposites creates an upfront look into micro- and macro-relationships. She was born in the United States but currently lives in Nigeria (and is represented by London-based gallery 50 Golborne), allowing her to mold the experience of a life spent between two countries. Her delicate lines build private and public scenes on trace architect paper, the translucency of the background and fragility of the paper’s surface translating to a bigger idea of the delicacy of humanity. Just like in Lemaoana’s work, Ogunji is playing with bigger topics that are experienced worldwide but adds personal elements such as her life as a Nigerian-American woman.
Someone to keep an eye on? Nigerian artist Ndidi Emefiele (featured image). Represented by London-based gallery Rosenfeld Porcini, her work is confrontation and humorous, mixing the contemporary (cut-outs taken from magazines or printed from Instagram) with the traditional (Nigerian dress colors or patterns found in modern settings). The pieces showcased at 1:54 NY hold a message of female empowerment, while the glasses found on most of the girls act as a layer of protection from the world, particularly the “male gaze”. In her 2017 piece Taxi, the exposure of the subject’s skin in comparison to the Matisse-like figures dancing in the background paintings is just one of the contemporary vs. traditional comparisons that can be immediately interpreted. Emefiele confronts popular topics such as gender as a social construct and the portrayal of female bodies within the media while incorporating traditional patterns, foods, and stances from her Nigerian roots.
1:54 NY does an incredible job of not only representing separate African countries but respecting those differences while creating worldwide topics that can be picked up by anyone who comes to visit the fair.
May 5th – May 7th 12-8pm
Pioneer Works (159 Pioneer Street), Brooklyn
Located at PIER 90 on Manhattan’s Westside, the 10th anniversary of VOLTA NY, the signature solo-focus artist show of the Armory Arts Week, featured a plethora of beautiful and thought-provoking works by artists from 39 nations that collectors and art enthusiasts alike were able to enjoy. Yet, of the 96 Galleries and artist-run spaces presenting this year, perhaps the most poignant, politically-oriented works were found in the show’s thematic Curated Section.
The timeliness of the artworks presented was undeniable, with their subject matter feeling ripped from today’s newspaper headlines. Beginning with a video wall at the entrance of Volta, the Curated Section, titled Your Body Is a Battleground, was aptly found at the heart of the show. Its deviser, New York-based writer and independent curator Wendy Vogel, drew inspiration from Barbara Kruger’s photomontage Untitled (Your Body Is a Battleground), produced for the 1989 Women’s March on Washington. “After the enormous turnout for the recent international Women’s Marches, Kruger’s work reads as a vital precedent for art that protests the erosion of civil rights,” said Vogel. “Though these artists’ works are a generation removed from Kruger’s, they continue her legacy of examining media and representation.”
Taking an intersectional feminist approach, Vogel selected eight artists from across North America and the Caribbean whose works explore, through various corporal representations, the treatment and controversy around Queer Bodies, Black Bodies, Latinx Bodies, and Women’s Bodies. “I was thinking about all the types of bodies that are in danger under the current political circumstances that we are living through”, stated the curator.
This is unsurprising as Vogel conceived the show last November shortly after the U.S. Presidential election. However, in a refreshing twist, not a single image of President Trump was presented —an intentional choice—, because “all of this work has staying power, and it’s political without feeling so tied to one particular moment in time.”
With that said, much of the artwork showcased was created specifically for Volta. With most of her work out of the country, Melissa Vandenberg’s burn drawings, presented by Maus Contemporary | beta pictoris gallery, were made just eight weeks before the exhibition. Integrating text into the images created with matches, an outline of America with the phrase “Wish You Were Here” has an intentionally camp sensibility, while the use of matches add greater symbolic meaning, linking the work to Wiccan cleansing rituals and cremation. Vandenberg said:“A lot of the work has to do with mortality and loss, whether it is our innocence as a nation or personal, intimate loss.”
In contrast to these typographic images, Nona Faustine’s striking photography was perhaps the most literally corporeal of the Section. Presented by Baxter St Camera Club of New York, many of the photographs depicted the artist partially or fully nude at historical sites where slaves lived, died, or were buried. In the photograph “Lobbying the Gods for A Miracle,” part of a Triptych from 2016, she embodies an escaping slave from the Lefferts House. Smoking gun in hand, children’s shoes around her waist, she presses her back against a tree in the woods anticipating her captors. The woods where she hides are the same that Americans fought in during the Revolutionary War, reflecting the complex relationship of being black in America. “My work is autobiographical; it’s more about how I feel in relationship to the history as a native New Yorker and as an African American,” said Faustine.
With the Trans Rights Movement and the Dakota Access Pipeline in the background, Kent Monkman’s work takes on an additional level of intensity; Monkman is of Cree and Irish ancestry and identifies as both queer and two-spirit. His paintings, presented by Peters Projects, re-appropriate the narratives around indigenous people by utilizing the Western European tradition of historical paintings to poke subversive fun at romanticized depictions of Native Americans and colonialism. Miss Chief Eagle Testickle, Monkman’s drag alter ego, also made an appearance at Volta in the collage series “Fate is a Cruel Mistress” (2017), in which she transforms into Biblical temptresses. In the portrait Judith you see Miss Chief in a headdress looking out determinedly before she beheads an inebriated Holofernes, depicted as a white colonial man —a clear victory.
The idea of temptresses and fantasy women was also taken on by Joiri Minaya, presented by Casa Quien. Her work #dominicanwomengooglesearch (2016) features pixelated depictions of dismembered female limbs floating in space, a commentary on the exoticized representations of Dominican women. The piece alone is intriguing, but its message is strengthened by Siboney, a performance in two parts, displayed on the video wall. In her latter work, Minaya documents the painstaking process of copying a found tropical pattern into a mural (around a month of work). She then lies seductively before the floral wall and pours water over her form before rubbing herself against the mural, effacing and transforming the piece simultaneously. Intercut with words like “Islander,” the performance challenges the viewer’s vision of an idealized land and people.
Through thoughtful analysis and exploration of the human form, Your Body Is a Battleground offered an introduction into several hot-topic issues without sacrificing aesthetics or relying exclusively on shock value. Yet, even though subject matter varies, when combined the artworks revealed a unified front against oppressors.
Other artists included in Your Body Is a Battleground were Zachary Fabri (ROCKELMANN & in collaboration with Aljira, A Center for Contemporary Art), Deborah Roberts (Art Palace), Sable Elyse Smith (The Museum of Contemporary African Diaspora Arts), Carmen Winant (Fortnight Institute), Chelsea Knight and Autumn Knight.
Volta NY 2017 took place at Pier 90 (W 50th Street at Twelfth Avenue, Manhattan) from march 1st through March 5th, 2017.
In 2011 Ryan Stanier launched the Other Art Fair. Eliminating the middleman (galleries), Ryan created a space for artists to come and show their talent. Tremendously popular from the very beginning, the fair attracts more than 40,000 visitors and exhibits over 100 artists. The last London edition opening featured 130 contemporary artists, art investment tours and the much-anticipated Virtual Reality project, Underworld, by the Guardian. I met with Ryan in the hip part of Coven Garden last week to discuss how it all started and what we can expect in the future.
How did you come up with the idea for the Other Art Fair?
I don’t really have an art background. I got interested in art by being constantly surrounded by friends who are artists. And then I saw my friends struggle to produce an exhibition: it could be an amazing show, but nowhere accessible. That was the problem; it is so expensive to rent a space that artists have a little way out. They have little exposure; dealers and publicists don’t usually visit this kind of shows.
I thought, what if I create a show of the kind, but in Central London? It came out naturally, out of love for my friends. And that’s the thing: unless it comes out of your interest and passion, it has low chance to succeed. The material part was completely irrelevant at that stage. I looked for a space for a while, browsing around London, calling agents, and after hundreds of calls, I found one. I set up an informal gallery in Coven Garden in 2009. It was good timing, as after the financial crisis a lot of spaces were empty. We stayed at that place for a while putting up shows, selling art…
I realized after a while that I don’t want to be a gallerist. It wasn’t something I was interested in. My background in events gave me an idea to create a fair for artists, without galleries being involved. And so, the fair for the artists who don’t have an exclusive contract with a gallery was launched.
Did you think about the competition, big shots like Frieze?
Yes, but it’s a completely different market. We created a space where new collectors can come and buy art. We all go to big art fairs, but we don’t buy anything. There’s an experience, for sure. With that in mind, we decided to create something more accessible, more fun, and equally aspirational. We always knew how we are different with a unique position in the market. It’s all about the artists. People like Gordon Ramsey visit, we’ve been working with UBS for a while to create artworks for their offices… We’re also looking to launch an art prize. We promote our artists and a lot of them make contacts through the Other Art Fair. It’s the same cost to rent a stand for everyone, so it comes down to the artists to make the most out of the fair.
How does the selection process work?
The upcoming fair had 1100 applications and we only have 100 slots. There’s a panel that selects artists, simply saying ‘yes’ or ‘no’. We’re interested in different types of mediums, so there are no specific selection criteria.
Who is your target customer?
It varies. We try to create a unique experience like nowhere else. We have a guest artist each fair, usually a known figure in the arts. For example, last year we had Tracy Emin create exclusive work for us in editions of 500, 50 pounds each. So, someone who has never bought art before could afford to buy an Emin. More than 50% of our audience has never bought art before, so we’re focusing on this ‘new collector’ type. The Other Art Fair is also interesting, it’s not intimidating. It’s never the same. What breaks all the barriers, I think, is that anyone can talk to artists and not a gallery sales person.
Tell me about your recent partnership with SaatchiArt.
It started last July. SaatchiArt is the biggest platform for artists, so we created the partnership where all the Other Art Fair artists are now available on SaatchiArt all year round. It came from my initial idea of how to help artists sell their work and create opportunities throughout the year.
Your first international edition was in Sydney last year. Why go to Australia first, and not, say, New York?
The city like London has around 30 art fairs a year, New York – twice more. In Sydney, there are only two art fairs every other year and such an enthusiasm for the arts from the public. It was a natural decision.
This year you’re expanding to New York, but not during the Frieze Week. Why?
In London, we run fairs both during the Frieze Week in October and one in the spring. The thing is, we haven’t noticed a large difference in visitor numbers and sales between the two. So, in NY we decided to develop a clear message about who we are and see who is interested in joining. We’re also expanding to Europe next year with 11 art fairs throughout the year.
Do you personally prefer museums or art galleries?
Museums. There’s no pressure and, you know, there are more impressive shows.
Do you have an advice for someone trying it out in the art world?
Don’t get overwhelmed by tradition. Don’t buy into it. Everyone will have to adapt to innovation.
P.S. Keep an eye on the place, in a few years it could be in your town.
March 5, 2017
It’s the first week of March in New York City, which for art lovers only means on thing: Armory Week! In its third edition, the Art on Paper 2017 fair exhibits paper-based art that frequently pushed the boundaries of what a work on paper could be. The medium-driven focus of the fair sets itself apart from the other larger-scale Armory Week fairs. The 84 galleries hosted at Art on Paper are from all over the United States, with several international additions from Barcelona, Buenos Aires, Kyoto, London, Shanghai, and Copenhagen.
Upon entering the space, visitors are greeted by two site-specific installation pieces. Tahiti Pehrson’s “The Fates” is composed of three colossal, 17-foot towers of hand cut paper, and Timothy Paul Myers, in collaboration with Andrew Barnes, crafted a domestic installation made entirely of felt. These are the first of many works of art that incorporate and utilize paper, but are not necessarily what you would think of when you hear the term ‘art on paper.’
There was a wide scope of artists included familiar modernists like Picasso & Matisse in the Master Fine Arts Gallery, to the all-star lineup of Sol LeWitt, Ed Ruscha, John Baldessari and Alex Katz at Richard Levy Gallery, and a few unheard of standouts. My favorites included Martin Kline’s rhythmic dry brush oil series “Palm Beach” (cover image) at Heather Gaudio Fine Art, whose bright blue compositions imitate patterns that occur in nature. Also in Heather Gaudio Fine Art were a few equally mesmerizing works by Jaq Belcher, whose sculptural, hand-cut leaves in “Lions Gate” cling to a single piece of paper. More of a traditionalist, Ekaterina Smirnova “Blue Path” at Villa del Arte Galleries appears to be an updated, watercolor version of French Impressionism. And Donald Martiny, whose works appear at Spender Gallery, resemble thick, impasto paint strokes but are actually made of pigmented polymer, and are so three-dimensional that he blurs the line between sculpture and painting.
George Billis Gallery’s display of Steven Kinder’s geometric abstractions and the hodgepodge of artists grouped together in Tamarind Institute were the more underwhelming booths. The most bizarre were the black and white photographs by Morton Bartlett that showed kitschy images of dolls posed in occasionally provocative positions. His display in Marion Harris’s booth was visually eye-catching… When you stepped close enough to realize the subject matter.
Amid the abundance of things to see, and the frenzy of visitors and art professionals, there were a few booths that stand out in my memory. Gallery Poulsen was one with the overtly political works of art, including one entitled “What the Fucking Fuck Just Happened” by William Powhida, as well as Artemesia’s installation created from torn pages of used books, and the technicolor portraits at Sasha Wolf Projects.
Art on Paper is open at Pier 36 (299 South Street) on the Lower East Side of Manhattan on March 2-5
February 26, 2017
Between the 22 and 26 of February, Madrid is the place to be for those who love contemporary art. There are at least five different art fairs taking place simultaneously, plus many other art-related events that make this one of the most exciting weeks of the year. The only downside of it is that it is virtually impossible to see everything, and so this year we have chosen to visit Art Madrid, the second biggest art fair in the Spanish capital.
In its 12th edition, Art Madrid maintains its multidisciplinary character and puts the emphasis on the quality of the artworks exhibited, as well as on the international appeal of the 43 galleries selected. These are mainly Spanish, but there is also a good number of them that come from all over the world, including Portugal, China, Latvia, Cuba, Costa Rica, Italy or Lebano.
This year the focus is also on the individual work of emerging and mid-career Spanish and Latin American artists. Next to the General Program, the ONE PROJECT Program -curated by Carlos Delgado Mayordomo- presents eight solo-show projects that reflect on the concepts of territory, displacement and identity.
In addition to this, the relationship between art and technology shapes the fair’s Parallel Program of activities, which includes talks, round tables, workshops and other actions. We attended the last event of the series, the presentation of “FILE_GENESIS”, a multimedia project by artist and founder of Harddiskmuseum Solimán López that revolves around the meaning of the image in the digital era, showing how necessary it is to generate a conversation about the ways in which technology affects the art world.
However, painting and sculpture, from the mid-twentieth century to the present, still predominated at Art Madrid this year. Here are some of the highlights from this edition.
Espacio Olvera (Sevilla)
The booth of this Sevillian gallery was one of the first to catch my attention. Selected as a ONE PROJECT, Espacio Olvera showed the work of Mariajosé Gallardo, a fascinating combination of symbolism and a very realistic depiction of plants and animals, painted over golden surfaces that give shape to very powerful artworks. It’s a pity the small space of the booth did not provide enough room for visitors to really appreciate the works.
Galería BAT Alberto Cornejo (Madrid)
Galería BAT presented a really interesting mix of artists working in different media, including bright paintings on an unusual support like methacrylate by Pablo Lambertos. I was particularly drawn to José Ramón Lozano’s oversized celebrity portraits and Byeonghee Bae’s curious series of wooden sculptures entitled Citizens above of building. A few works from the series El Jardín de Fukuoka by Rubén Martín de Lucas -who we recently interviewed– were also present at the gallery’s booth, but he was also one of the best represented artists at the fair thanks to having been selected for the ONE PROJECT program, which allowed him to show the latest developments of his investigation regarding borders and the behaviors of the human population.
3 Punts (Barcelona)
Another gallery with a wide selection of artists was 3 Punts. In this case I particularly liked the intersections between the diverse approaches to sculpture of artists Alejandro Monge, who cracks the perfectly innocent appearance of regular objects to criticize different aspects of society; Gerard Mas, whose wooden figures seem to have a life of their own; and Samuel Salcedo, especially his hyper-realistic, sinister little humans made of resin.
Marc Calzada (Barcelona)
Also from Barcelona, Marc Calzada brought something different to Art Madrid: the work of modern Spanish masters like Antoni Tàpies, Antonio Saura, Miquel Barceló, or Joan Miró. The gallery’s selection of works encapsulated some of the best exponents of Spanish art from the twentieth-century, and included rare items such as a doodle by Miró on a torn piece of cardboad.
Galeria Kreisler (Madrid)
The work of Madrid-based multidisciplinary artist Okuda San Miguel, shown by Galeria Kreisler, stood out as one of the most visually compelling in this edition of Art Madrid. Combining elements of Urban Art and Pop Surrealism, San Miguel has created a very personal, rainbow-colored universe using a huge range of techniques, including mural painting (check out how he transformed a 100-year-old church into a skate park). One of his most interesting works at the fair was ‘Mom’s Bird’ (2016), made of wool on canvas.
Yiri Arts (Taiwan)
The booth of Yiri Arts, a gallery from Taipei, was one of my favourites this year. It featured pieces by four artists, two Spanish (Mónica Subidé and Núria Farré) and two Taiwanese (Chen Yun and Wang Guan-Jhen). Their figurative paintings and small-scale sculptures were among the subtlest and most captivating in the whole fair, and they left me hoping to see more from this gallery in the next edition of Art Madrid.
Art Madrid ’17, Galería de Cristal, CentroCentro Cibeles, 22 – 26 February, 2017.
I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.
Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.
While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.
You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?
I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.
How did you personal background (your farther is a famous artist) influence you throughout your career?
Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.
How did the idea for 1:54 come about? What challenges did you face/still facing?
When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.
Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?
As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.
Who’s your favourite artist?
This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.
I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.
Who are the artists to watch at 1:54 this year in London?
I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.
What are your future plans for the fair and beyond?
1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.