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Sign of change

FRIEZE and FIAC: What is new?

Art Market | While alternative and specialized fairs are rapidly gaining influence, FRIEZE and FIAC inaugurate a tight schedule of international art fairs in October. Both fairs provide cultural programs with a relevant presence of emerging young contemporary artists while remaining market-oriented.

Michael Craig-Martin, Wheelbarrow (red) (2013), New Art Centre / Gagosian 
Frieze Sculpture 2017 © Photo by Stephen White. Courtesy of Stephen White/Frieze.
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Michael Craig-Martin, Wheelbarrow (red) (2013), New Art Centre / Gagosian
Frieze Sculpture 2017

© Photo by Stephen White. Courtesy of Stephen White/Frieze.

FRIEZE London features around 160 galleries while FIAC brings together 192 galleries, both fairs have a similar distribution : 2/3 are European, 1/3 is national. The North American contingent represents 20% of the events’ exhibitors.

In its 2017 edition, FRIEZE London has counted with the presence of renowned international curators, three of whom were in charge of conceiving and designing three different sectors. One of these, Focus on Emerging Talents, was advised by emerging curators Ruba Katrib and Fabian Schœneich, featuring 34 exhibitors coming from 18 countries. Notorious artist Alison Gingeras worked on a central current topic : Sex Work : Feminist Art & Radical Politics, an issue that gathered 12 galleries presenting avant-garde female artists whose radical work infringe our codes. Meanwhile, the Frieze Talks program was entrusted to the curator and director of the Hayward Gallery, Ralph Rugoff. Finally, this year the Frieze Sculpture at Regent’s Park started 3 months earlier with 25 works (18 in 2016) selected by Clare Lilley.

FIAC has chosen and extended a cultural development approach (that nevertheless remains attached to the market) through the design of a new route around emblematic monuments at the heart of Paris (inaugurated in 2016)  : the Grand Palais, the Petit Palais (on site) and the Palais de la Découverte (Parades for FIAC festival). These spaces surround the Winston Churchill Avenue which becomes pedestrian in order to host an exhibition of sculptures produced by the galleries. At the Grand Palais, next to the heart of the international market, a few galleries propose a “dialogue” between two generations of artists, following a prevalent trend that binds the past to the present. The fair also renews itself with the arrival of 40 additional exhibitors and through the inauguration of a sector dedicated to the decorative arts, which has gathered the reference galleries in the matter.

Oscar Tuazon, Dessin préparatoire pour le projet Fiac Hors-les-murs, Place Vendôme, 2017 © Courtesy de l’artiste et de la galerie Chantal Crousel, Paris
Oscar Tuazon, Dessin préparatoire pour le projet Fiac Hors-les-murs, Place Vendôme, 2017
© Courtesy de l’artiste et de la galerie Chantal Crousel, Paris
When it comes to the Hors les murs project, we can appreciate the fair’s partnership with the Swiss bank Mirabaud which has collaborated with the Chantal Crousel gallery in order to support American artist Oscar Tuazon’s in situ project at the place Vendôme. Finally, Conversation Room is led by 89plus, Simon Castets and Hans Ulrich Obrist’s research platform, which focuses on the paradigm shifts that have occurred in the generations of artists born after 1989. FRIEZE and FIAC are part of a necessary strategy for change, positioning themselves as leading fairs that define the current art market movement while creating the trends that will determine tomorrow’s market.

Vincent Kozsilovics / Nina Rodrigues-Ely
Publié le 13/09/2017
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Version française

Michael Craig-Martin, Wheelbarrow (red) (2013), New Art Centre / Gagosian  
Frieze Sculpture 2017 © Photo by Stephen White. Courtesy of Stephen White/Frieze. Oscar Tuazon, Dessin préparatoire pour le projet Fiac Hors-les-murs, Place Vendôme, 2017 © Courtesy de l’artiste et de la galerie Chantal Crousel, Paris

Michael Craig-Martin, Wheelbarrow (red) (2013), New Art Centre / Gagosian
Frieze Sculpture 2017

© Photo by Stephen White. Courtesy of Stephen White/Frieze.

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