Jairo Alfonso, 386, 2

Dear Abraham,

Gallery 8 New York opens in Harlem next Thursday with an inaugural exhibition 17 Cuban artists from FACTION Art Projects.

The exhibition, All That You Have Is Your Soul (Feb 2 – March 10) curated by Armando Marino and Meyken Barreto is a group show of 17 artists, all of whom are tied together by their responses to building identity within a foreign land. The exhibition uses the link of heritage between the artists to present artworks that celebrate difference in identity. Each artist in the show has some relationship to Cuba, some island-born emigres, some with careers developed in Cuba and others with more distant descendants. This starting point, a key point of identity for some, but not for others, offers a tangible bond in their linked roots, but the overriding premise is that as a group they mean to redefine themselves within their unique circumstance.

Artists exhibiting:

Alejandro Aguilera, Anthony Goicolea, Armando Mariño, Ariel Cabrera Montejo, Elsa Mora, Enrique De Molina, Ernesto Pujol, Geandy Pavon, Jairo Alfonso, Juan Carlos Quintana, Juan Miguel Pozo, Juana Valdes Maria Magdalena Campos Pons, Marc Dennis, Maritza Molina, Marta Maria Perez, Pavel Acosta, Quisqueya Henriquez

Throughout the show FACTION will seek to engage with local communities of the Harlem neighborhood. This will include a series of School Workshops, Curators’ Talks, a Neighborhood Welcoming Day, Artist Workshops, Panel Discussions and a Cuban Cultural Evening.
FACTION provides artists with promotion and opportunity to access collectors and a wider audience, with all the support of a gallery but without the constraints of the traditional model. FACTION is a new flexible collective, from the team behind the hugely successful Gallery 8 and Coates & Scarry in London, who in this, their foray into the US, are adapting a unique model for artists and gallerists to work together.

All the very best,

Anna

Thanks and congratulation on a significant program and exhibit.

Abraham Lubelski

Editor / Publisher

Press Release

Geandy Pavon, Wrinkled Wing, 201

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Abortion is our country’s Scarlet Letter, an impassioned “A” writ large on our conscience. We shame, blame and deny women their right to self-determination to live, love and when to have or not have children. Although this January is the 45th year anniversary of the Supreme Court Ruling legalizing abortion, there have been, as of last count, 401 rollbacks across the country making it very difficult, and in many cases impossible for women to elect this choice. What can we do about this?

We can march, write articles, sign petitions, hold direct actions We can invent related hashtags like #MeToo–what greater sexual harassment in there than defining what a woman can do with her body? And we can make art. But what might art about abortion look like? What might it accomplish? These are the questions Barbara Zucker explores in “Currents: Abortion” an ambitious exhibit she curated at the A.I.R. Gallery.

Barbara Zucker, artist, writer and activist, is a co-founder of A.I.R. Gallery, established in 1972 as the first not-for-profit, artist-directed and maintained gallery for women artists in the United States.

In my interview with her, Zucker said, “Abortion is talked and written about, but there’s not much art about it. It almost seems taboo. Several artists I approached to do an artwork said “’No’.”

This exhibit is a visual compendium and unfolding of the issues, stories, meanings, and history embedded in one word: Abortion. The 70 works selected from the over 160 submissions, are the artists’ response to a series of questions posed by Zucker.

In selecting the works, Zucker said that “I didn’t know what I was looking for but I knew I didn’t want the usual tropes of hangers, nor large amounts of blood. Nothing specific.” She want

ed works that were “thought provoking, reflecting different states of mind, speaking in different voices.”

Two of A.I.R.’s three galleries, entrance and back hall, are richly filled with works in a breathtaking range of mediums: paintings, drawings, prints, etchings, photographs, collage, sculpture, mixed-media constructions, and a monitor showing several videos. Zucker doesn’t seem to impose any apparent “ordering” of the work. All media, all viewpoints, views and experiences are exhibited together, demanding equal attention–a sisterhood of Me Too. The effect is that of “a visual conversation” representing all the varied experiences women have and have had regarding abortion This not a quiet exhibit. It fairly shouts at you—you hear the different visual voices, experiences, stories, cries and whispers of defiance, anger, pain, sadness, longing, shame, regret, outrage __”the full catastrophe”.

Zucker believes this show is an opportunity for us to listen to artists who have chosen to give voice to their “emotions and perceptions about this subject. You will find depictions of choice, loss, and anger; of fecundity, of disease. There are images of helplessness and images of power. There is work that reaches into the past to demonstrate ways in which women used abortifacients. There is work that is pro-life as well as work that is religious.”

She observes that those who are pro-choice are as passionate as those who are not. “I believe all of us are pro-life: it is the definition of the term that is not the same. Herein lies the dilemma. How do we ever bridge this divide?”

Though much has been written about abortion, there has

not been much visual art. Through this exhibit, Zucker hopes to get people to see the visual and have it be as important as the words. Art, she believes, is a powerful bridge that can engender a kind of “visual dialogue.”

Barbara Zucker’s introduction to the exhibit profoundly states that “Art is visual listening.” She continues with “We use all of our senses to listen and to understand. In this turbulent moment in history, the ability to listen to one another has become a matter of urgency.” “Currents: Abortion” reflects these complexities and is larger than pro and con, yes and no. It goes to the heart of who we are and how we want to be as individuals and as a nation. This exhibit shows us how the personal is political.

Indira Cesarine ACT NOW

Yael Ben-Zion: Photograph Detail 2017 Cemetry at Trinity Church “In Loving Memory of All The Victims of Abortion”

Rosa Naparstek      January 22, 2018

 ____________________________________________________

Participating artists:

Adrienne Jenkins, Alexander Bernon, Amy Cannestra, Amy Finkbeiner, Anne Ferrer, Audrey Anastasi, Bernadette Despujols, Cali Kurlan, Catherine Hall & Meg Lipke, Charlotte Woolf, Christophe Lima, Coco Hall, Cristin Millet, Cynthia Winika, d’Anne de Simone, Dani Sigler, Danielle Siegelbaum, Deborah Wasserman, Devra Fox, Divine Williams, Dottie Attie, Elaine Angelopoulos, Elke Solomon, Ellen Jong, Eugenia Pigassiou, Gina Randazzo , Grace Burney, Greta Young, Heather Saunders & Cassandra, Heather Weathers, Ilona Granet, Indira Cesarine, Irene Gennaro, Jane Zweibel, Jessica Nissen, Julia Kim Smith , Julia Buck, Justine Walker, Karen Meersohn, Kathy Grove, Katrina Majkut, Lannie Hart, Leslie Fry, Leslie Tucker, Megan Pickering, Marie Tomanova, Martha Edelheit, Martha Fleming Ives, Maureen Connor, Mira Schor, Nadine Faraj, Nancy Hellebrand, Nancy Lasar, Nina Meledandri, Parastoo Ahoon, Pat Lasch, Perri Nerri, Rachel Lindsay, Rachel Portesi, Robin Adsit, Robin Jordan, Robin Tewes, Rosemary Meza DesPlas, Ruth Owens, Sabra Moore, Sooyeon Yun, Susan Carr, Valerie Hallier, Virginia Carey, Yael Ben Zion

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2017 Edition of Fair Marks Inaugural Acquisition for the Frieze Brooklyn Museum Fund

The sixth edition of Frieze New York closed on Sunday, May 7, having brought together more than 200 leading galleries from 31 countries and driven exceptional sales and record collector attendance throughout the week.  This year also marked the launch of new partnerships in New York, including the inaugural Frieze Brooklyn Museum Fund to support acquisitions made at the fair for the museum; the first Frieze symposium in the city held in collaboration with the Getty and the Institute of Fine Arts, NYU; and a campaign to support the Americans for the Arts Action Fund to save the National Endowment for the Arts. Bringing together collectors, curators, and art enthusiasts from around the world, Frieze New York 2017 showcased the vanguard of contemporary practice and traced its key influences, highlighting established, emerging, and re-discovered artists alongside icons of 20^th-century art and tribal works. Presented on Randall’s Island Park from May 5 – 7, the fair drew a record number of top-tier first-entry collectors visiting from around the world both on the Preview Day and throughout the fair. Building on ambitious gallery presentations as well as the fair’s Frieze Projects of site-specific artists commissions and Talks programs, Frieze New York reinforced its role as a vital platform for engaging with the most influential and inspiring artists working today.

For the sixth consecutive year, Frieze New York was sponsored by global lead partner Deutsche Bank, continuing a shared commitment to discovery and artistic excellence.

Frieze New York 2017
Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

David Kordansky, Frieze New York 2017
Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

Galleries across the fair’s Main and specially curated sections—Spotlight and Frame—enjoyed strong sales throughout the week, placing artworks across all levels of the market with major private collections and international institutions.  Select highlights include: Lisson Gallery’s sale of an Anish Kapoor work listed as £1.2 Million; David Kordansky Gallery sold out its booth of Tala Madani paintings, ranging from $22,000 to $110,000 each, to both collectors and public institutions; Hauser & Wirth placed paintings and sculptures by American artist Lorna Simpson with both museums and private collections, ranging from $150,000 to $300,000; David Zwirner sold out of works by American sculptor Carol Bove, including four sculptures and one work on paper at prices ranging from $50,000 to $550,000;Grimm Gallery completely sold out its stand, including works by William Monk ranging from $20,000 to $26,000; and Mendes Wood DM sold works ranging between $10,000 and $50,000.

Victoria Siddall, Director, Frieze Fairs said: ‘It has been a great week at Frieze New York, with record attendance by collectors and curators that resulted in strong sales at a range of price points across the fair. We are proud to have had the opportunity to partner with great cultural organizations, from the inaugural Frieze Brooklyn Museum Fund, to our first-ever Symposium in collaboration with the Getty and Institute of Fine Arts, NYU, to our support for Americans for the Arts Action Fund to #SavetheNEA. The galleries in the fair made huge efforts to bring ambitious presentations of the highest quality work by artists from around the world – ultimately, this is what made the fair a great success.’

This year’s fair marked the inauguration of the Frieze Brooklyn Museum Fund supported by WME | IMG and LIFEWTR, which together contributed $50,000 towards the Brooklyn Museum’s acquisition of a work at Frieze New York. The selection panel, including curators from the Brooklyn Museum and guest curators from museums across New York City, selected the large-scale abstract work, Untitled 1971, by Virginia Jaramillo from Hales Gallery. This marks the first official museum acquisition fund for Frieze New York and follows a tradition of museum acquisition funds at Frieze Art Fairs, established with the Tate Fund at Frieze London beginning in 2003 that has supported the acquisition of more than 100 works for the national collection.

Anne Pasternak, Shelby White and Leon Levy Director of the Brooklyn Museum, said: ‘At the Brooklyn Museum we have a long history of championing artists before they have gained wider acceptance. We are thrilled to be able to continue that tradition through our acquisition of the wonderful and historically important 1971 work by Virginia Jaramillo at Frieze New York, with the support of LIFEWTR and WME | IMG in addition to funds from the Museum’s Contemporary Art Acquisition Committee.’

In coordination with the fair, Frieze mounted its first-ever symposium in New York in collaboration with the Getty and the Institute of Fine Arts, NYU, presenting three panel discussions on Latin American and Latino art related to the Getty’s upcoming “Pacific Standard Time: LA/LA” (September 2017- January 2018). Participants included curators Cecilia Fajardo-Hill; Clara M. Kim; Chon Noriega, and artists featured in the exhibitions including Guillermo Kuitca, María Evelia Marmolejo and Clarissa Tossin, among others.

Joan Weinstein, Deputy Director of the Getty, said: ‘We so appreciated Frieze giving us the opportunity to present the research behind the upcoming Pacific Standard Time exhibitions to a broader audience. And the fair was a perfect place for us to connect with the leading Latin American galleries, which were so well represented this year.’

Gallery Response

International collectors responded with great enthusiasm to the gallery presentations across Frieze New York, with galleries reporting significant sales throughout the fair.

Wendy Olsoff, co-founder of P.P.O.W (New York, main) said: ‘We always love participating in Frieze New York and London. This is our fourth time in New York and it was of course our most exciting as we won the stand award. We couldn’t have felt more validated and appreciated. It isn’t an exaggeration to say this was an historical highlight for us after almost 35 years in business, to have both our gallery and the artists we were showing recognized so publicly, many of whom we’ve been championing for years. There were many museum attendees and collectors at the fair who have supported us over the years and shared their enthusiasm with us about being honored. On top of all this, we sold work to great collections.’

Andreas Genger, Director of Sprüth Magers (Berlin, main) noted: ‘This year’s edition of Frieze New York was very successful and solid despite the current political climate and the anxieties it is causing in the art world. American collectors turned out in strong numbers and the mood on the opening day was buoyant and energetic without being frantic; sales were strong. We placed works across a wide range of prices starting from $15,000 to $350,000 in very good collections, including pieces by Rosemarie Trockel, Otto Piene, Sterling Ruby and Llyn Foulkes. Sprüth Magers is glad to have been part of the fair this year.’

Greg Lulay, Director, David Zwirner (New York, main), said: ‘Frieze New York is a great environment for ambitious, curated presentations, and we were excited to continue our recent tradition of presenting a dual-artist show at the fair, this year featuring Carol Bove and William Eggleston, following the pairing of Isa Genzken and Lisa Yuskavage last year. The collector response was strong – we sold out the works by Carol Bove on opening day, and had a similarly positive experience with selling the majority of the photographs by William Eggleston.’

Alex Logsdail, International Director of Lisson Gallery (London, main), remarked: ‘We had a strong week at Frieze New York, with sustained sales and interest throughout the fair following a successful opening day with the sale of major works by Lee Ufan and Anish Kapoor. We’ve been pleased by the collector and curator response to the dialogue between these two artists’ works.’

Lisa Spellman, Founder and Director, 303 Gallery (New York, main) shared: ‘We’ve had an incredible fair; Frieze is spectacular. There has been an international crowd throughout the week and we’ve had great feedback. We have made incredible sales beyond expectation.’

Noach Vander Beken, Axel Vervoordt Gallery (Antwerp, main) said: ‘This was our first year participating in Frieze New York and we have been very pleased with the quality of collectors that have visited the fair each day. For our stand, we presented works by Masatoshi Masanobu, marking the pioneering Gutai artist’s rediscovery with a first solo show in New York, and the response from collectors has been incredibly strong with sales made throughout the week to a number of collectors that are new to the gallery. Overall, the experience here has been tremendous and we’re already looking forward to next year.’

Elisa Uematsu, Taka Ishii Gallery (Tokyo, main) said: ‘New York is a city full of opportunities to explore the arts, but with the growing range of art on view this week and the addition of more modern art galleries at Frieze New York, this year’s fair gave visitors an exceptional range of art to discover. It was the ideal setting for our presentation of contemporary and historical material. We received a strong response from institutions and collectors, especially for the works of Takeo Yamaguchi, Yoshio Sekine, Kimiyo Mishima and Tomoo Gokita.’

Donald Ellis Gallery (New York and Vancouver, main) commented: ‘We are very pleased with our participation and received an overwhelmingly positive response to our first presentation at Frieze New York. We look forward to being back and showing more of this historical material in the context of contemporary and modern art in the future.’

John Ollman, Owner Fleisher/Ollman Gallery (Philadelphia, Spotlight): ‘This was our first time exhibiting at Frieze New York and the energy here was incredible – it felt like fairs of years past. The response to our presentation of work by Felipe Jesus Consalvos has surpassed all our expectations. We sold works to collectors that are all new to the gallery, and many who had never seen Consalvos’ work before. We’re also very happy with the response from the museum community, with a number of works anticipated to enter institutional collections.’

Marius Wilms, Société (Berlin, Focus), said: ‘Following our Soylent installation last year, this year we decided to present a booth that showed works by a range of artists and highlighted some major strengths of our gallery program. The response was very strong with good sales throughout the fair, particularly to collectors that are new to the gallery and we’re looking forward to continuing to build on these relationships in the future.’

Esperanza Rosales, Director, VI, VII (Oslo, Frame), said: ‘We have had a tremendous response to our debut presentation at Frieze New York. Frame has been the ideal platform to show Eva LeWitt’s works for the first time in an international art fair context. Within hours of the fair opening we had made new connections and placed works in major collections from New York and Latin America, including a large-scale wall sculpture. We could not be happier.’

Stefan Benchoam, Director, Proyectos Ultravioleta (Guatemala City, Frame), said: ‘This was our first year participating in Frieze New York, and it has been a wonderful experience.  We’ve made connections to museums, curators, and collectors from around the world, and there had been a great response to our stand of works by Akira Ikezoe with strong sales and interest across the board.’

Stand Prizes

Frieze New York 2017 included three awards recognizing exceptional presentations from galleries across the fair, including two Frieze Stand Prizes and a specific prize for a gallery in the Frame section, supported by Stella Artois.

The Frieze Stand Prize was awarded to outstanding presentations in two categories:

Simone Subal, Focus, 2017 Stand Prize Winner, Frieze New York 2017
Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

• P.P.O.W. (New York, Main) was awarded the prize for the most exceptional presentation by a gallery taking part in any section of the fair for its exhibition that brought together contemporary and historical works by New York-based artists Charlie Ahearn, Anton Van Dalen, Daze, David Wojnarowicz and Martin Wong.
• Simone Subal Gallery (New York, Focus) was awarded the prize for the strongest presentation from a gallery under 12 years of age for its exhibition of works by Kiki Kogelnik (1935-1997), a pioneer of feminist Pop Art.

This year’s judging panel for the Frieze Stand Prizes included Rita Gonzalez, Curator and Acting Department Head, Contemporary Art, Los Angeles County Museum of Art; Stefan Kalmár, Director, Institute of Contemporary Arts London; and Eva Respini, Barbara Lee Chief Curator, Institute of Contemporary Art Boston.

In addition, Frieze also awarded The Frieze Frame Prize to the most deserving presentation in the specially curated Frame section. Supported by Stella Artois, the 2017 prize was awarded to Bridget Donahue (New York) for its exhibition of collage works by Susan Cianciolo.

This year’s Frame Prize jury included Laura Copelin, Curator and Interim Director, Ballroom Marfa; Alex Gartenfeld, Deputy Director and Chief Curator, Institute of Contemporary Art Miami, and Co-Curator of the New Museum Triennial, 2018; and Anna Gritz, Curator, KW Institute for Contemporary Art.

Museum Groups

Drawing a record level of institutional attendance, Frieze New York 2017 welcomed leadership and stakeholders from 230 leading art museums from around the world. International museum directors and curators acquired works throughout the fair and lauded Frieze New York for convening an unparalleled collection of emerging and established galleries, artists, and thought-leaders for a vibrant week of conversation and discovery.

Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art, Dallas Museum of Art, commented: ‘The fair struck a terrific balance between contemporary and more modern work. We discovered a number of contemporary artists and artworks new to us, such as Yuji Agemtasu’s sculptures at Miguel Abreu and Nick Relph’s photograms at Herald Street. There were also significant examples of work by well-known artists such as Mike Kelley’s Compound Eye (1982-3) at Franklin Parrasch, and other highlights for us included the solo presentation of Jamie Davidovich at Henrique Faria, Kiki Kogelnik at Simone Subal, Etienne Martin at Galerie Bernard Bouche, and the combination of works from across different time periods at Taka Ishii.’

Alex Gartenfeld, Deputy Director and Chief Curator of the Institute of Contemporary Art, Miami, remarked: ‘Frieze always offers so many opportunities to discover artists and galleries from around the world, especially through the Frame section and Focus. I appreciate that the fair is finding new ways to challenge the art fair model with performance activities, site specific installations, and Cecilia Alemani’s Frieze New York Projects, which is always a highlight.’

Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator of the Solomon R. Guggenheim Museum, commented: ‘Frieze is my favorite art fair; it is well-curated and always legible.  The announcement this year of a purchase award to the Brooklyn Museum is especially admirable.  It is wonderful to see Frieze giving back to the communities that support it.’

Yana Peel, CEO of Serpentine Galleries, London, noted: ‘It’s thrilling to return to Randall’s Island for the sixth year, to celebrate the success of the Frieze Fair as it grows in size, ambition and influence. Among the 200 exhibitors, the expanded Spotlight section—curated by Toby Kamps—is particularly exciting for discovery and rediscovery, as is Frame.’

Leadership and patron groups from museums around the world visited Frieze New York, including: Art Gallery of Ontario (AGO); Art Institute of Chicago (ARTIC); Art Gallery of Ontario (AGO); Art Institute of Chicago (ARTIC); Aspen Art Museum; British Museum; Centre Pompidou; Contemporary Arts Museum Houston (CAMH); Guggenheim Bilbao; Hammer Museum; Hirshhorn Museum and Sculpture Garden; Institute of Contemporary Arts, London (ICA London); Institute of Contemporary Art, Philadelphia (ICA Philadelphia); Institute of Contemporary Art, Boston (ICA Boston); Institute of Contemporary Art, Miami (ICA Miami); Israel Museum; Los Angeles County Museum of Art (LACMA); Louvre Museum; Menil Collection; Museo de Arte Moderno de Bogota (MAMBO); Museum of Contemporary Art Chicago (MCA Chicago); Museum of Contemporary Art Toronto; Museum of Fine Arts, Boston (MFA Boston); Museum of Fine Arts, Houston (MFAH); Pérez Miami Art Museum, Miami (PAMM); Philadelphia Museum of Art; San Francisco Museum of Modern Art (SFMOMA); SBC Gallery of Contemporary Art; Serpentine Galleries; Serralves Museum of Contemporary Art; Stedelijk Museum; Tate Americas Foundation; Tate Britain and Tate Modern; The Power Plant Contemporary Art Gallery; Victoria and Albert Museum; Walker Art Center; and Zachęta National Gallery of Art.

Partnership with Americans for the Arts

This year, Frieze partnered with Americans for the Arts in support of its Action Fund campaign to save the National Endowment of the Arts.  Through an integrated onsite and online awareness campaign, Frieze encouraged all fair attendees to both sign a petition to the United States Congress and to make a contribution to the Arts Action Fund, which Frieze matched in full, to help support the organization’s legislative efforts to ensure public arts funding is preserved in the United States. Information about the Action Fund campaign and opportunities for the public to contribute were presented on Frieze’s website and across the fair.

Bob Lynch, President, Americans for the Arts Action Fund said: ‘The Americans for the Arts Action Fund greatly appreciates the generosity of Frieze New York in making our national arts advocacy efforts the beneficiary of funds from this year’s art fair. It is truly visionary and important long term thinking that an excellent commercial art enterprise like Frieze recognizes the value of entities that serve the not-for-profit arts world such as our nation’s federal agencies, the National Endowment for the Arts and the Institute of Museum and Library Services among others. The Americans for the Arts Action Fund will use the funds to educate the US Congress and other decision makers about the value of the arts and arts education to all Americans in every part of our nation and urge them to fully fund the NEA for fiscal year 2018, plus all the other federal cultural agencies and efforts such as the Artist Museum Partnership Act which would  allow artists the same tax benefits for donations of their own art  as a collector currently gets when gifting a similar work to a museum or educational institution.’

Courtesy of Frieze New York 2017

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Frieze Announces Programs and
Highlights for Frieze New York 2017

Taking place on Randall’s Island Park May 5 – 7, the sixth edition to
feature ambitious presentations from top international contemporary
and 20th century art galleries, curated sections showcasing emerging
artists, site-specific artist commissions and talks series

The sixth edition of Frieze New York brings together more than 200 leading
galleries from 31 countries, showcasing ambitious presentations and new
commissions by today’s most significant international artists from emerging
talents to seminal and rediscovered 20th century masters. The fair takes place at
Randall’s Island Park from May 5 – 7, 2017, with an invitation-only preview on
Thursday, May 4.

Frieze New York is supported by global lead partner Deutsche Bank for the sixth
consecutive year, continuing a shared commitment to discovery and artistic
excellence.

Presenting museum-quality exhibitions in a bespoke, light-filled structure
designed for the experience of art, Frieze New York offers an immersive cultural
experience for major institutional and private collectors, scholars and art
enthusiasts alike. With galleries joining from six continents, including firsttime
exhibitors from Brazil, Guatemala, Japan and Poland, the fair illuminates
the aesthetic, political and historical concerns driving contemporary practice
around the world.

Organized by Victoria Siddall (Director, Frieze Fairs) alongside Artistic
Directors Abby Bangser and Jo Stella-Sawicka, Frieze New York is further
strengthened by a team of international independent curators. Toby Kamps
(The Menil Collection, Houston) will curate the expanded Spotlight section for
the first time; Cecilia Alemani (High Line Art, New York / Italian Pavilion
2017 Venice Biennale) will commission Frieze Projects; and Jacob Proctor
(Neubauer Collegium for Culture and Society, University of Chicago) and
Fabian Schöneich (Portikus, Frankfurt) will advise the Frame section. Tom
Eccles (Bard College, New York) also returns as curator of Frieze Talks,
bringing together leading cultural figures including Shuddhabrata Sengupta of
Raqs Media Collective, poet Claudia Rankine and MoMA’s Ann Temkin to
deepen discussion of the themes of activism and influences of modernism also
seen across the fair.

For the first time, Frieze will present a major symposium in New York City
during Frieze Week. In collaboration with the Getty and the Institute of Fine
Arts, NYU, the symposium on Friday, May 5 will raise discussion on topics
related to Latin American and Latino Art featured in the upcoming edition of
“Pacific Standard Time: LA/LA”.

“Frieze New York continues to evolve, and this year galleries are bringing
presentations of greater breadth and quality than ever before, reflecting the
diverse cultural interests of our audience,” noted Victoria Siddall (Director,
Frieze Fairs). “Following major sales to institutions and private collectors in
2016 – and with Cecilia Alemani’s inspiring projects and Toby Kamps’s new
perspective on Spotlight this year – the fair continues to develop as a vital and
unique platform for art and ideas.”

The World’s Leading Galleries
Frieze New York will continue to showcase leading modern and contemporary
galleries from around the world in the main section, including returning
exhibitors Acquavella Galleries (New York), Gavin Brown’s Enterprise
(New York), Tanya Bonakdar Gallery (New York), Matthew Marks
Gallery (New York), Marian Goodman Gallery (New York), David
Zwirner (New York), Mendes Wood DM (São Paulo), The Modern Institute
(Glasgow), Foksal Gallery Foundation (Warsaw), Galerie Chantal Crousel
(Paris) and Sprüth Magers (Berlin); alongside newcomers Eykyn Maclean
(New York), Galeria Luisa Strina (São Paulo) and Castelli Gallery (New
York). The fair will also grow as a platform for the world’s most exciting
emerging galleries, with exhibitors including VI, VII (Oslo), Bridget Donahue
(New York) and Proyectos Ultravioleta (Guatemala City) joining the fair’s
Frame section for the first time.

Alongside its main section, Frieze New York features three special platforms
that ensure a diverse representation of artistic practices from around the globe:

• Spotlight, expanding to 31 galleries with solo artist presentions and curated
for the first time by Toby Kamps, reveals foundational moments in art history
since 1960, and fosters new research into artists from emerging countries, as
well as rarely seen work by iconic figures of the avant-garde. This year sees
increased participation by younger exhibitors, alongside more established
galleries, all sharing a common interest in artistic reexamination.
• Frame, advised by Jacob Proctor and Fabian Schöneich, grows increasingly
international this year, featuring 17 emerging galleries from 13 countries.
A section for experimentation, Frame brings together solo presentations by
today’s most exciting new artists.
• Focus, a platform that subsidizes today’s strongest young galleries to showcase
their programs in stands throughout the fair, will feature 28 galleries from
Mumbai to Rio de Janeiro.

Today’s Most Significant International Artists
Frieze New York is a vital platform to encounter today’s most significant artists
and artworks from around the world, including main section solo exhibitions
featuring: Lorna Simpson, presenting new paintings and sculptures in her firstever
project with Hauser & Wirth (New York); the celebrated American painter
John Currin with Gagosian Gallery (New York); Anri Sala, presenting Bridges
in the Doldrums (2016) with Marian Goodman Gallery (New York), ahead of
the artist’s participation in the Venice Biennale; Keith Sonnier at Pace (New
York), bringing together his pioneering neon sculptures with two new series of
works; Tala Madani with David Kordansky Gallery (Los Angeles), coinciding
with the artist’s presentation in the Whitney Biennial; and Kevin Beasley
showing with Casey Kaplan (New York).

Galleries presenting dynamic two-artist and group presentations include: Esther
Schipper (Berlin, main) with a group show centered around Swap (2011), an
interactive performance by Roman Ondak; Lisson Gallery (London, main)
with a two-artist show by leading international artists Anish Kapoor and
Lee Ufan, coinciding with the opening of Kapoor’s Descension at Brooklyn
Bridge Park; and Herald St’s (London, main) group stand including Michael
Dean, a Turner Prize finalist and the recent subject of a Nasher Sculpture
Center exhibition, on the eve of the artist’s participation in the fifth Skulptur
Projekte Münster. Joining the fair for the first time, Galeria Luisa Strina
(São Paulo, main) will show a spectrum of major Latin American artists
including Leonor Antunes, Carlos Garaicoa, Laura Lima and Adrián
Villar Rojas alongside 20th-century icon Lygia Pape, coinciding with the
latter’sretrospective at The Met Breuer. Another leading Brazilian gallery,
Mendes Wood DM, (São Paulo, main) will bring a substantial presentation by
São Paulo-based artist Adriano Costa alongside other leading artists.

Frieze New York will also be an opportunity to preview many artists
representing countries in the Venice Biennale, including: Carol Bove,
representing Switzerland, whose work will be on view alongside the
photographer William Eggleston at David Zwirner’s (New York, main)
stand; the seminal artist Geta Bratescu, representing Romania, showing
alongside experimental conceptual artist Lia Perjovschi with Ivan
Gallery (Bucharest, Focus); and the sound and media artist Samson Young,
representing Hong Kong, showing new work with Galerie Gisela Capitain
(Cologne, main).

Politically Engaged Art
Resonating with themes explored across this year’s international biennials,
many galleries are presenting work exploring the role of art in climates
of conflict – from colonial pasts to dystopian futures. Looking back at the
politically charged scene of New York City’s East Village in the 1980s, P.P.O.W.
(New York, main) will present a large-scale, car-shaped pigeon coop by Anton
van Dalen, originally exhibited at Exit Art in 1988, alongside pioneering works
by artist-activists Martin Wong and David Wojnarowicz, all showing the
influence of immigration, street art and Hip Hop on the cultural epoch. Also
highlighting the visual culture of the 1980s, Skarstedt (New York, main) will
show works by politically engaged artists Mike Kelley and Cindy Sherman,
among other modern and contemporary artists. Maureen Paley (London,
main) will present politically themed works by AA Bronson and Wolfgang
Tillmans, and further addressing 21st century politics and technology with
humour, Carroll / Fletcher’s (London, Frame) solo presentation of multimedia
works by Thomson & Craighead will explore themes of self-help and
apocalypse, including a perfume that ‘literally’ smells of end times.

Looking at histories of colonialism, Meessen De Clercq (Brussels, Focus) will
present a solo stand of works by Vietnamese artist Thu Van Tran examining
rubber as a symbol of suppression by the French in Vietnam; and Chi-Wen
Gallery (Taipei, Focus) will showcase Chien-Chi Chang’s The War That Never
Was and Yin-Ju Chen’s Extrastellar Evaluations (both 2016), new video works
looking at memory and histories of human destruction. Showing with Mary
Mary (Glasgow, Focus), Aliza Nisenbaum’s solo presentation will use imagery
of protest found in Mexican Modernist prints from 1900-1950 to explore
painting as a form of ethics.

Feminist Perspectives
Many galleries have curated shows featuring women artists from the 20th
and 21st centuries, exploring pressing feminist issues and the role of women
in influential movements of contemporary practice. Solo exhibitions include
Simone Subal Gallery (New York, Focus) who will showcase the Austrian-
American pioneer of feminist Pop Art, Kiki Kogelnik (1935-1997); newcomer
Bridget Donahue (New York, Frame) presenting a solo exhibition by Susan
Cianciolo, coinciding with the artist’s participation in the Whitney Biennial;
and The Third Line (Dubai, main) presenting a solo stand of work by Iranian
artist Farhad Moshiri exploring the common ground between Iran and the
West.

Highlights among the themed group stands include: Lehmann Maupin (New
York, main) with a striking three-artist stand featuring Californians from
different generations: Mary Corse, Liza Lou and Catherine Opie; Cheim
& Read (New York, main) who will respond to the recent Women’s March
on Washington, with a booth featuring works inspired by the color pink by
artists including Ghada Amer, Donald Baechler, Lynda Benglis, Louise
Bourgeois, Louise Fishman, Adam Fuss, Jenny Holzer, Jonathan Lasker,
Jack Pierson, Juan Uslé and Andy Warhol; Salon 94 (New York, main)
featuring works by three international women artists— Huma Bhabha,
Francesca DiMattio and Katy Grannan—offering commentary on issues of
race, gender, class and sexuality; and Jhaveri Contemporary (Mumbai, Focus)
with an intergenerational stand of female artists from India including tapestry
by Monica Correa and fibre sculpture by Mrinalini Mukherjee alongside
painting and photography by Simryn Gill, Lubna Latif Agha and Yamini
Nayar.

Performance and Interactive Works
Across the fair, galleries are presenting immersive projects that invite visitors
to become part of the artworks themselves. The Breeder (Athens, main)
will revive a seminal interactive public installation borne out of the AIDS
crisis: 1-900 Mirror Mirror (1993-6) by Chrysanne Stathacos. Galeria
Nara Roesler (São Paulo, main) will present a new performance by Paulo
Bruscky, questioning the socio-political role of art, alongside elements from
performances by Eduardo Navarro and Paul Ramirez Jonas previously
only seen in institutional settings. Canada (New York, main) returns to the
fair with another immersive interior, curated by the New York-based artist
Marc Hundley to mirror the artist’s actual home at 220 Roebling in Brooklyn,
including objects and artworks hung salon-style amidst handmade furniture,
books and records. In the Focus section, David Lewis (New York) will bring
a solo stand with Dawn Kasper – presenting a participatory installation of
musical sculpture exploring the concept of desire.

Generations of Influence: 20th century movements and tribal art
Building on Frieze’s reputation for showcasing modern artists and encouraging
the growth of art collections across eras, this year’s fair features a growing
presence of galleries exhibiting significant works from the 20th century
alongside masters of contemporary art. Sprüth Magers (Berlin, main) will
bring together key figures of post war art with contemporary European and
American artists whom they have influenced; and Franklin Parrasch (New
York, main) will explore the history of art within America, showing work from
the 1960s through the 1980s by Californian pioneers Peter Alexander, Billy
Al Bengston, John McCracken, Ken Price, Deborah Remington and Ed
Ruscha.

Further, the expanded Spotlight section, curated for the first time in New York
by Toby Kamps (The Menil Collection, Houston), will bring together solo artist
presentations by pioneers of 20th-century practice. Revealing foundational
movements in art, from ‘Hippy Modernism’ to Concrete Poetry, highlights
include Thomas Kovachevich’s works using everyday materials, performance
and architecture, first exhibited at the 1972 Documenta exhibition (Callicoon
Fine Arts, New York); works by recently rediscovered Cuban-American,
self-taught artist Felipe Jesus Consalvos (Fleisher / Ollman, Philadelphia);
the experimental sculptor and poet Barbara Chase-Riboud (Michael
Rosenfeld Gallery, New York); Dom Sylvester Houédard—a Benedictine
monk turned counter-culture cult figure of 1960s London (Richard Saltoun
Gallery, London); rarely seen work by Lee Mullican, inspired by cosmological
abstraction, Native American and pre-Columbian influences (Marc Selwyn
Fine Art, Los Angeles); and Peruvian artist Teresa Burga (Galerie Barbara
Thumm, Berlin) presenting Pop works from the 1960s on the opening of her
first-ever US museum retrospective at SculptureCenter (New York).

Exploring 20th century art and its influences world-wide, Entwistle (New
York, main) will show tribal sculptures side by side with post war Japanese
paintings of the Gutai and Informel movements; while Axel Vervoordt
(Antwerp, main) will curate a rare solo presentation of Masatoshi Masanobu,
a significant artist from Gutai’s second wave. Major European and American
20th century figures including Sam Francis, Henri Matisse and Robert
Motherwell will be on view at Bernard Jacobson Gallery (London, main);
alongside significant works by Georg Baselitz and Robert Rauschenberg
at Galerie Thaddaeus Ropac (Paris, main); Jean Dubuffet and Wayne
Thiebaud at Acquavella Galleries (New York, main); and Jean-Michel
Basquiat and James Rosenquist at Eykyn Maclean (New York, main).

In addition, acknowledging the enduring influence of tribal art on avant-garde
artists of the 20th century and today, three eminent galleries and founding
Frieze Masters exhibitors – Donald Ellis (New York and Vancouver), L & R
Entwistle and Co (London) and Galerie Meyer – Oceanic Art (Paris) – will
participate in Frieze New York for the first time.

Frieze Stand Prizes
Frieze New York 2017 sees the return of three awards recognizing exceptional
presentations from galleries across the fair, including a specific prize for
younger galleries in the Frame section.

A Frieze Stand Prize will be awarded to outstanding presentations in two
categories: the first specifically to a gallery under 12 years of age, and the
second for an exceptional gallery taking part in any section of the fair. The
prizes will be awarded by a leading jury of museum directors and curators and
will be announced at 4pm on Thursday, May 4.

Supported by Stella Artois, the Frame Prize is dedicated to the most deserving
presentation in the Frame section. The winner will be selected by a leading jury
of emerging art experts. The Frame Prize will be announced at 12pm on Friday,
May 5.

Frieze Talks
Part of Frieze’s non-profit program and featuring today’s most influential
artists, thinkers and cultural figures, Frieze Talks is curated by Tom Eccles
(Executive Director, Center for Curatorial Studies, Bard College, New York).
Exploring themes of agency, politics and perspective, and responding to content
within the fair itself, this year’s Talks program features Claudia Rankine, 2016
MacArthur Fellow and winner of the 2017 Bobbitt National Poetry Prize for
her collection Citizen, as well as a panel on art and social commitment chaired
by Shuddhabrata Sengupta of Raqs Media Collective and featuring artists
Tania Bruguera, Anri Sala and Jeanne van Heeswijk; and a conversation
on “complicating the Modern” from Ann Temkin, Marie-Josée and Henry
Kravis Chief Curator of Painting and Sculpture at MoMA.

Frieze Talks takes place daily at 11.30am at Stand H1, next to the Ruinart
Lounge at Frieze New York from Friday, May 5 through Sunday, May 7. Access
to Frieze Talks is included in all admission tickets. The complete schedule is
available at frieze.com.
Symposium in Collaboration with the Getty and the Institute of Fine
Arts, NYU

Taking place on Friday, May 5 in collaboration with the Getty and the
Institute of Fine Arts, NYU, Frieze’s first-ever symposium in New York will
present three panel discussions on Latin American and Latino art related to
the Getty’s upcoming “Pacific Standard Time: LA/LA” (September 2017-
January 18). Participants will include Cecilia Fajardo-Hill, co-curator of
the touring exhibition “Radical Women: Latin American Art, 1960–1985”
(Hammer Museum, Los Angeles, 2017; Brooklyn Museum, New York, 2018);
Dan Fox, co-editor of frieze magazine; Clara M. Kim, curator of the Los
Angeles Municipal Art Gallery’s exhibition “Learning from Latin America:
Art, Architecture and Visions of Modernism” (2017-18); Chon Noriega, cocurator
of the touring exhibition “Home–So Different, So Appealing: Art from
the Americas since 1957” (Los Angeles County Museum of Art, 2017; Museum
of Fine Arts, Houston, 2017-18); Edward Sullivan, the Helen Gould Sheppard
Professor in the History of Art, Institute of Fine Arts, NYU; and artists featured
in the exhibitions including Guillermo Kuitca, María Evelia Marmolejo
and Clarissa Tossin. For further information, please see frieze.com.

Non-Profits at the Fair
Frieze has invited three non-profit art spaces and organizations to present their
programs at Frieze New York. This year’s participants include the Donald
Judd Foundation, SculptureCenter and White Columns, the city’s oldest
alternative art space. Following its collaboration with Frieze on the fair’s
marketing campaign, the Judd Foundation will present a selection of Donald
Judd Furniture curated by Flavin Judd, Curator & Co-President; alongside
publications including Donald Judd Writings and Donald Judd: Complete Writings
1959-1975.

Frieze Projects
The Frieze Projects program at Frieze New York will feature seven
commissions, curated by Cecilia Alemani (High Line Art, New York & Italian
Pavilion, 2017 Venice Biennale). Inside the fair and around Randall’s Island
Park, ambitious, interactive and site-specific artworks will question the act of
watching and being watched.

On the green lawn outside the North entrance, Elaine Cameron-Weir will
build a rudimentary structure based on plans for a backyard air-raid shelter, the
inside lit by two neon sculptures – glimpses of which are only possible through
a discrete door. Inside the fair, Jon Rafman will transform a gallery stand
into a secret movie theater, where visitors can watch – and be watched while
watching – a new video series fusing amateur 3D animation and niche genres
of computer-generated erotica. Dora Budor will supplement the art fair’s
usual routine by using cinematic doubling to question perception and reality.
This year’s tribute to a groundbreaking arts space is dedicated to Galleria La
Tartaruga in Rome and its experimental exhibition “Il Teatro delle Mostre”
(1968). The tribute space will change daily, with restagings of two pioneering
projects by Giosetta Fioroni and Fabio Mauri, alternated with new
commissions by Ryan McNamara and Adam Pendleton.

The Reading Room
Returning for a second year, the Reading Room offers visitors the opportunity
to meet writers, editors and artists in book signings and presentations, hosted
by the world’s leading arts and lifestyle publications. Daily event details can be
found at frieze.com

Frieze Bespoke
Launching for the first time at Frieze New York, Frieze Bespoke is an
exclusive opportunity for those interested in collecting art to explore the
fair accompanied by an independent art specialist. These intimate tours are
available for groups of up to four people and are designed specifically for
those interested in learning about art and beginning or growing their own art
collections. Each tour lasts approximately two hours, with itineraries including
starting a collection; an introduction to Latin American art; a survey of iconic
20th century figures; and emerging talents. For further information, please visit
friezebespoke.com.

Learn More

The post Frieze Announces Programs and Highlights for Frieze New York 2017 appeared first on NY Arts Magazine.

International Art Fair Warsaw are international 20^th and 21^st century art fairs. The first edition of the fairs was held in April 2016 at the PGE Narodowy Stadium. This gave Warsaw an artistic event of international significance so many artists, gallery exhibitors and collectors awaited.

IAF Warsaw is an event dedicated to all those passionate with art. The broad range of presented works, from sculpture and painting through installations, graphics, photography, through modern patterns as well as meetings with the creators and art-related discussions – all this creates the extraordinary nature and atmosphere of this event. The fairs gather numerous exhibitors and visitors, both from Poland and abroad.

Learn More

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Features and programming at the Affordable Art Fair New York Spring 2017

The post Affordable Art Fair New York 2017 appeared first on NY Arts Magazine.

Wednesday 8 – Sunday 12 of February 2017

Learn more

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The 14th edition of Frieze London will take place a week earlier this year, opening 6–9 October with a Preview Day on Wednesday 5 October. This year’s fair brings together more than 160 of the world’s leading galleries, showcasing today’s most significant artists across its main and curated sections, alongside the fair’s celebrated non-profit programme of ambitious new artist commissions and talks. In 2016 the fair will debut a new gallery section, The Nineties, recreating seminal exhibitions from the decade, alongside the return of sections Focus and Live, the definitive platforms for emerging galleries and performance art respectively. Frieze London coincides with Frieze Masters and the Frieze Sculpture Park, convening art of the highest quality from a spectrum of periods and countries and offering collectors, scholars and art enthusiasts an unparalleled cultural experience.

Frieze London is supported by main sponsor Deutsche Bank for the 13th consecutive year, continuing a shared commitment to discovery and artistic excellence.

Building on Frieze’s enduring relationship with collecting institutions, this year, the fair partners with two acquisition funds for national museums, including the the Frieze Tate Fund, now supported by WME | IMG; and the launch of the Contemporary Art Society’s Collections Fund at Frieze, supporting a regional museum in the UK.

Victoria Siddall, Director, Frieze Fairs said, ‘Frieze has become known for its strong curated sections and this year I am particularly excited to see Nicolas Trembley’s selection of artists who changed the conversation in the 1990s. This adds to the great range and diversity of work shown throughout the fair by the world’s leading galleries. I am also thrilled that we will have two official museum acquisition funds at the fair this year, including the Frieze Tate Fund – this was used to purchase Tate’s first-ever performance work at Frieze Art Fair 2004, Roman Ondák’s Queue, which was shown for the recent opening of the new extension. In the fair’s non-profit programme, Raphael Gygax will give a new perspective on Frieze Projects, contributing to the many elements which will make this an unmissable week.’

Institutions at the Fair: Tate, Contemporary Art Society & Allied Editions

This year sees the realization of two acquisition funds for national museums, in- cluding the return of the Frieze Tate Fund, this year supported by WME | IMG.

•    Established in 2003 as the first acquisition fund connected to an art fair, the 2016 Frieze Tate Fund will provide £150,000 for Tate to acquire works of art at Frieze London this October. To date, Tate has acquired 100 works at Frieze London, with 12 major pieces currently on view at Tate Britain and Tate Modern. The Tate acquisition will be announced on Thursday 6 October

• In addition, Frieze welcomes the Contemporary Art Society as a new partner, making possible the acquisition of a major new work for a selected regional museum. The Collections Fund at Frieze currently stands at £50,000, including a match-funded gift, which was awarded to Middlesbrough Institute of Modern Art after a competitive application process open to the Contemporary Art Society’s 70 Museum Members across the UK. The acquisition will be announced on Wednesday 5 October, at 3pm in the Reading Room at Frieze London

• Allied Editions will also return to the fair with an increased presence and guest regional partner Nottingham Contemporary. Over five years of collaboration with Frieze London, Allied Editions has raised over £500,000 in unrestricted funds to benefit its partner organisations.

A New Section: The Nineties

Pierre Joseph Character to Be Reactivated (Superman),
1992
Cibachrome print
90 × 60 cm
Courtesy of the artist and Air de Paris, Paris.

Selected by Geneva-based curator Nicolas Trembley, galleries will revisit seminal exhibitions from the 1990s, highlighting key collaborations between dealers and artists that have had a lasting impact on contemporary art. Following significant institutional attention to this decade – from the New Museum’s 2013 exhibition ‘NYC 1993’ to the group show ‘Récit d’un temps court’ currently on view at Mamco (Geneva) – this ambitious section will recreate critical moments that first took place in galleries across London, Paris, Cologne and New York. The Nineties features galleries that are both new to the fair and presented within the main section, as well as era-defining spaces that no longer exist.

Solo presentations include:

•    Wolfgang Tillmans’s very first exhibition at Daniel Buchholz’s gallery in 1993, then located in his father’s Cologne bookshop;

•    Anthony Reynold’s 1996 gallery debut of Richard Billingham’s iconic series of photographs ‘Ray’s a Laugh’, which brought the artist to notoriety (and was later included in the ‘Sensation’ exhibition at the Royal Academy in 1997);

• Esther Schipper (Berlin) will recreate Dominique Gonzalez-Foerster’s iconic room installation R.W.F. (Rainer Werner Fassbinder) from 1992; and
•    Neu Gallery (Berlin) will bring together important works by Daniel Pflumm, a central figure of 1990s Berlin, collapsing boundaries between art, electronic music production and nightlife

Iconic shows to be revisited include:

• Aperto ’93 – the exhibition at the Venice Biennale conceived by Helena Kontova and Giancarlo Politi, which introduced a generation of artists to the global stage including Maurizio Cattelan, Carsten Höller and Rikrit Tiravanija. (Massimo De Carlo gallery, Milan); and
• Christian Nagel’s 1992 group exhibition ‘Wohnzimmer / Büro’ (Living room / office), including the original wallpaper designed by Jörg Schlick (Galerie Nagel Draxler, Berlin).

The World’s Leading Contemporary Galleries

James Turrell
Cockle Creek, 2015
Elliptical wide glass. L.E.D. light, etched glass and shallow space
82 x 50 ¾ inches
© James Turrell. Courtesy Kanye Griffin Corcoran, Los Angeles. Photo credit: Robert Wedemeyer.

Frieze London 2016 draws together 119 galleries to present ambitious solo and themed exhibitions across its main section, with new additions for 2016 including Miguel Abreu, Matthew Marks Gallery and Metro Pictures (all New York).

Highlight presentations will include

• An immersive light installation by James Turrell with Kayne Griffin Corcoran (Los Angeles), who will take part in Frieze London for the first time;
• Philippe Parreno’s new sculptural work (Pilar Corrias Gallery, London), conceived in conjunction with the artist’s commission for Tate Modern’s Turbine Hall; and
• ‘L’atelier d’artistes’: Hauser & Wirth’s exploration of the uncanny in reconstructing artist studios, revealing the tendency towards creative license.

Monographic and group presentations by major female artists can also be seen across the main section, including:

•    Goshka Macuga (Galerie Rüdiger Schöttle, Munich);
•    Latifa Echakch (kamel mennour, Paris);
•    Francis Upritchard (Kate MacGarry, London);
•    Penny Siopis (Stevenson, Cape Town);
• Channa Horwitz with Ghebaly Gallery (Los Angeles) which moves into the main section from Focus;
• The Third Line (Dubai) will bring together works by iconic and emerging artists Sophia Al Maria, Rana Begum, Monir Shahroudy Farman- farmaian and Huda Lutfi; and
• P.P.O.W (New York) will present four generations of feminism with Carolee Schneemann, Betty Tompkins, Portia Munson, Aurel Schmidt and Erin Riley, featuring Munson’s seminal work Pink Project (1993)

Live: performance and participation

Advised by museum curators Jacob Proctor (Neubauer Collegium for Culture and Society, University of Chicago) and Fabian Schöneich (Portikus, Frankfurt), the pioneering section for performance and participatory art returns, with new and historical projects presented in a dedicated space within the fair:

Highlights include:

• The international premiere of Para um corpo…, from the series ‘Hábito/ Habitante’ by Martha Araújo (Galeria Jaqueline Martins, São Paulo & PM8, Vigo), bringing to light the significance of performance art in Latin America under military dictatorship; and
• In the first installation of its kind at the fair, the groundbreaking Berlin- based artist Christine Sun Kim, who has been deaf since birth, will explore the materiality of sound through performance, opening up new fields of perception to hearing and non-hearing audiences alike (with Carroll/ Fletcher, London).

Focus: emerging talents

Celia Hempton
Ben, 2015
Oil on polyester
25.5 x 30.5 cm
Courtesy the artist and Southard Reid
Photo credit Lewis Ronald.

Also advised by Jacob Proctor and Fabian Schöneich, Focus is the definitive destination to discover emerging talents from Berlin to Shanghai, featuring 37 galleries under 12 years of age. A wave of new-generation London galleries join Focus for the first time this year, including:

• Chewday’s showing Gabriele Beverage alongside idols from the Neolithic period (10,000 – 2,000 BC);
•    Arcadia Missa showing London-based artists Jesse Darling, Dean Blunt, Hannah Quinlan and Rosie Hastings;

•    Seventeen, with an immersive virtual reality project by Jon Rafman; and
• Southard Reid showing an all-over painting installation by Celia Hempton.

Taiwan and Guatemala will be represented at Frieze London for the first time:

•    Newcomers Chi-Wen Gallery will present video work by Yin-Ju Chen;
• and Proyectos Ultravioleta will show new painting and collage by Elisa- beth Wild and Vivian Suter

The section will also build on strong representations from the emerging scenes in New York, Los Angeles, Paris, Shanghai and Berlin, offering a platform for ambitious work by Liu Chuang (Magician Space, Beijing), Aaron Garber- Maikovska (High Art, Paris) and Liz Magic Laser (Various Small Fires, New York).

Frieze Sculpture Park

The Sculpture Park will be open from 5 October 2016 – 8 January 2017, with free entry to all. Selected by Clare Lilley (Director of Programme, York- shire Sculpture Park), 20 works by 20th-century masters and contemporary talents will be placed throughout the English Gardens of The Regent’s Park, creating a free outdoor exhibition at the centre of London.

For the first time, Art Fund is the programming partner for the Sculpture Park, presenting workshops for the duration of the three-month exhibition as well as the new-look Frieze Sculpture Guide App, available to download from 5 October.

Featuring works presented by galleries participating in Frieze London and

Frieze Masters, contemporary highlights include:

•    Optic Cloak by Conrad Shawcross, a six-metre-high study for his major 2016 commission for the Greenwich Peninsula (Victoria Miro, London)

• New monumental bronzes including Neptune/Rescue (2016) by Matthew Monahan, recently on view at the National Roman Museum in Palazzo Altempts (Massimo De Carlo, Milan); Treat (2016), an amorphous sculpture by Nairy Baghramian, winner of the 2016 Zurich Art Prize; and International Institute  of Intellectual Co-operation, Configuration 11, Last Man, a key element from Goshka Macuga’s celebrated exhibition at Fondazione Prada, Milan.

Frieze Talks

Curated by Christy Lange (Frieze) with Gregor Muir (Executive Director, ICA, London and incoming Director of Collection, International Art, Tate), Frieze Talks will bring together today’s most influential artists, writers, curators and thinkers.

•    For the first time, Frieze Talks presents a special daily series focusing on a single, urgent theme – ‘Borderlands’ – with contributions from Fatima Al Qadiri, Alexandra Bachzetsis, Hannah Black, Josh Kline, Jill Magid and Ben Rivers, among many others.;

• In addition, lively and intimate conversations with leading cultural figures will include a keynote lecture by the legendary Jamaican dub musician and producer Lee ‘Scratch’ Perry; and a special discussion inspired by the 25th anniversary of frieze magazine, with Julia Peyton-Jones, Adrian Searle, Wolfgang Tillmans and Jane and Louise Wilson.

Frieze Art Fair Stand Prize & Focus Stand Prize

This year, two prizes of £5,000 each will recognize outstanding gallery presentations at the fair.

• Awarded to a gallery in the main or Nineties section, the Frieze Art Fair Stand Prize will be judged by Martin Clark (Director, Bergen Kunsthall), Dr Omar Khalif (Manilow Senior Curator at the Museum of Contemporary Art Chicago) and Helen Molesworth (Chief Curator, Museum of Contemporary Art, Los Angeles). The winner will be announced on Wednesday 5th October.

• Awarded to a gallery in the Focus section for galleries aged 12 years or under, the Focus Stand Prize will be judged by Gary Carrion-Murayari, (Kraus Family Curator, New Museum), Martin Clark (Director, Bergen Kunsthall) and Yung Ma (Curator, Service Création Contemporaine et Prospective, Centre Pompidou) and Judith Welter (Director, Kunsthaus Gla- rus). The winner will be announced on Thursday 6th October.

Frieze Projects

Coco Fusco La Confesión, 2015 Courtesy Alexander Gray Associates

Supported by the LUMA Foundation and curated for the first time by Raphael Gygax (Migros Museum für Gegenwartskunst, Zurich), the non-profit programme of artist commissions will feature Sibylle Berg & Claus Richter; Martin Soto Climent; Coco Fusco (UK debut, co-commissioned with Liverpool Biennial); Operndorf Afrika (Opera Village Africa); Julie Verhoeven; and Samson Young. The winner of the 2016 Frieze Artist Award is Yuri Pattison.

Frieze Film

Samson Kambalu
Dancer in the Woods, 2014
Digital video, color
34 sec
Courtesy of the artist and Frieze.

Samson Kambalu, Rachel Maclean, Shana Moulton and Ming Wong

will present new artist films, premiered at Frieze London and broadcast on national television. Curated by Raphael Gygax and forming part of the fair’s non-profit programme, Frieze Film 2016 continues its long-standing partner- ship with Random Acts, Channel 4’s short-form strand dedicated to the arts.

Frieze Music:

Frieze Music, The Vinyl Factory and Hayward Gallery will present a unique evening on 6 October, in conjunction with ‘The Infinite Mix’. Taking place at The Store, 180 The Strand and produced in collaboration with Jeremy Deller, this special event will feature a live performance by Cecilia Bengolea with DJs The Heatwave and special guests. Drinks courtesy of The Store Kitchen.

Frieze Sounds

Curated by Cecilia Alemani (High Line Art, New York) and presented with BMW, Frieze Sounds will present the UK premieres of new sound commissions by Giorgio Andreotta Calò, GCC and Liz Magic Laser.

The Reading Room

Returning for a second year, the Reading Room offers visitors the opportunity to meet writers, editors and artists in book signings and presentations, hosted each hour by the world’s leading arts publications. Highlights include:

•    Financial Times: In conversation with artist Cai Guo-Qiang (Friday 7th)
• Artnews: In conversation with the artist Richard Billingham – also featured in the Nineties section (Thursday 6th)

Guided Tours with Frieze Bespoke

Frieze Bespoke – a personalised tour for those interested in collecting art – returns for a third year. Visitors will have the opportunity to explore the fair guided by an independent art world professional, with their specific interests, budgets and art backgrounds in mind.

Learn More

Courtesy of: Frieze London and Frieze Masters

The post Frieze London 2016 Highlights appeared first on NY Arts Magazine.

SVIT, PRAGUE

SVIT, based in Prague, Czech Republic is the recipient of the first NADA x Exhibitionary International Gallery Prize at NADA Miami Beach 2016.

The recipient of the prize is invited to exhibit at NADA Miami Beach for the first time in a sponsored booth provided by Exhibitionary and NADA. The prize, in its inaugural year, is supported in part by visitors of NADA Miami Beach through ticket sales.

The gallery will present work by Ajit Chauhan, David Krnansky and Jirí Kovanda at NADA Miami Beach, December 1–4, 2016.

The winner was selected by the NADA Miami Beach 2016 Selection Committee. Eligibility requires that applicants are commercial galleries based outside of the U.S., traveling internationally to exhibit at NADA Miami Beach for the first time.

ABOUT EXHIBITIONARY
Exhibitionary is the new mobile gallery guide covering global art destinations, from the most interesting galleries to major institutions and experimental project spaces. With interactive features including picks by leading contemporary art professionals, schedule planning, and customizable maps, Exhibitionary’s intuitive interface makes discovering the art world’s best exhibitions simple – for art aficionados, or those new to the gallery scene.

NADA Miami Beach 2016

The post Programs NADA x Exhibitionary International Gallery Prize appeared first on NY Arts Magazine.

ART MARKET BUDAPEST defines a new cultural region: YOUNG EUROPE, where we may find combined influences from the former Communist countries stretching from the Baltic States to the Balkans, and from such sources of cultural inspiration as Turkey or Israel in the South, countries of Central Asia in the East, or even a progressive new generation of artists from the already established West. And what can be more attractive than a fair that is GLOBAL AND LOCAL at the same time?

Exhibitors having arrived from over 30 countries and an audience of over 25 thousand international visitors clearly indicate that there had already been a demand in the art world for this new artistic platform to bring freshness to the European and global art scene.

ART MARKET BUDAPEST has created a meeting point in Budapest for lovers of art, where YOUNG EUROPE welcomes its guests with comfortable circumstances and developed infrastructure, and invites you to a place where it is pleasant for artists and collectors, experts and art-lovers to come together.

http://artmarketbudapest.hu

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