Frieze i
Once again I was fortunate to be a VIP’s “plus one” for my Frieze experience. Having not always had this privilege I really do appreciate the difference. After a plentiful breakfast at Tate Britain with time to see the Turner Prize show (I liked Elizabeth Price‘s piece) and hear about the Tate’s Outset acquisitions we set off on the South London Gallery jamboree. Whilst looking at Rashid Johnson‘s show I was introduced to a wonderful American couple of collectors who really do seem to travel the world in pursuit of exciting new contemporary art. Their passion was amazing, and I was very pleased to discover that some of my fears about “collectors” were dispelled by this charming pair. The bus route back passed truly improverished parts of south London and I hope that some of the VIPs looked up from their iphones and saw another side of the city.
The two years since my last visit to Frieze collapsed as soon as I entered that massive tent – the sights and sounds were immediately familiar. Having lived in Stockholm for a year the buzziness (and busyness and business) of Frieze was even more pronounced. I quickly found two things that interested me; one a Tom Burr piece in the backroom of the Rech Gallery, and Ian Kiaer’s piece* at Alison Jacques. It is only now that it occurs to me that maybe the people on both stands had time to talk because it was during the VIP’s daily ‘preview’ hour and the fair was not yet so busy. It makes such a difference to hear about the artist and their work from people who know them. Perhaps I am too aware of being an artist rather than a collector when I visit fairs – from my own limited time in retail and sales I know the frustration of being engaged with an interesting but non-buying person and seeing potential buyers move on.
I intended to spend the whole day there however three hours was enough. It could have been the brilliant white light, the artificial environment in that huge tent, the constant hum of the generators, my age or just the sheer volume of artwork but I was more than ready to head across the park to see Frieze Masters.
Frieze Masters was a completely different experience, one that I found very enjoyable. I immediately warmed to the calm grey tones of the carpet and walls, the wide aisles and the modest number of visitors. The style of the booths and the type of work was (understandably) completely different. The Galerie Daniel Blau exhibition of Warhol drawings was amazing and it was great to be able to see such fine work so close up. I surprised myself with how much I enjoyed looking at the ancient Chinese and African art. Again it was amazing to be so close to such beautiful things, amazing also that they were not in glass cases! The pair of Chinese jade discs from 3000 -2000 BC at Ben Janssens‘ fascinated me, these must be the oldest things that I have been close to (excluding the earth itself and other such ‘ancient’ things). It was while standing awestruck in front of these that I started to think about the possibility of using similar stands for presenting some of the objects from my ‘collections’.
A reception at the Whitechapel Gallery was my last VIP event that day. As soon as we arrived I met an old college friend who now has a very serious position in the art world (so does her partner), we do not really keep in touch but always get along very well when we meet up.
The day was (visually) exhausting and it was a good decision to stop while I was enjoying myself rather than continue to another couple of events later in the evening.
The art world is a weird and wonderful place – I feels like home …
*Yes, he is using an emergency blanket too! I loved the way it rippled and sparkled.
