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 Frieze Week, round-up
Frieze Week 2015: If You Blinked It's All Over - Artlyst Round-Up - ArtLyst Article image

Frieze Week 2015: If You Blinked It's All Over - Artlyst Round-Up

18-10-2015
 
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This year our round up for Frieze 2015 is going to be a tough call, as we are clearly all going through the usual art withdrawal symptoms, unless of course you are on your way to Paris for FIAC the French equivalent. 

Frieze and Frieze Master were strong with a lot to offer from both the work on the walls, floors and sometimes suspended mid air. The fair this year played host to 160 galleries at the main Frieze fair showcasing some of the world's leading contemporary artists. 

Here is our pick of the best from Frieze London

Camille Henrot:  kamel mennour (Paris Stand F4) Interesting and very modern take on 21st century culture. 

Ynve Holen at Stuart Shave/ Modern Art. This years Winner of Frieze Stand Prize

Rachel Rose Winner Frieze Projects

New work by Damien Hirst, entitled Holbein Artist's Watercolours (seen reflected)  and with a price tag above $1.2 million

Mark Leckey’s Inflatable Felix (2014) at Galerie Buchholz, of Berlin, Cologne, and New York.

Anish Kapoor at Lisson Gallery

Frieze Masters

Praise has to be heaped once again on Helly Nahmud for his hugely inventive stand display. This year’s offering is a recreation of the mental asylum that heavily influenced the work of Jean Dubuffet while show casing some superb examples of Dubuffet’s work. 

Wayne Thiebaud still Life 1986

Saturday: The week started with a number of collateral events including the opening of the new Gagosian Gallery in Grosvenor Hill Mayfair.

On show was a superb exhibition of Cy Twombly’s work with many pieces coming directly from the foundation. The after party was one of the most sought after parties of the season with a reception at the fabulous Savile Club and a set from the award winning band The Noisettes. 

Monday: was the private view at the Zabludowicz Collection

and the launch of the Damien Hirst’s Newport Street Gallery featuring an exhibition of John Hoyland's Power Stations (Paintings 1964-82) also hosted a private dinner.

Not to be missed along with parties at the ICA, Serpentine Galleries and The Vanity Fair/Christie’s party.

It was also the opening of The Future Can Wait at the new Art Bermondsey Project Space. . 

Tuesday: saw the launch of VIP day at Frieze and collateral events TAKE! Sixteen of the most dynamic female artists in London together for TAKE! EAT!, an exhibition put together by Artist/Curators Diana Chire & MC Llamas. Situated on the door step of Frieze Art Fair, St Marylebone Parish Church  

Ricochet: which featured 'Five Emerging Artists From Saudi Arabia' Explored In New Exhibition at Asia House. 

Wednesday: best event was the launch of the Sunday Art Fair and all the while Frieze London and Frieze Masters was there for a return visit. 

Thursday: The Outset VIP launch of Fig-2 Danish artist FOS at the ICA followed by a tour of Hirst’s new gallery

Friday: 'Silent Movies' at the Cavendish Square Q-Park one of the High points of Frieze Week

Words/Photos Paul Carter Robinson © artlyst 2015

Reader Comments

" The subject matter of Camille Henrot's inept scribble is a fitting summary of Frieze week and everything it stands for. As Charles Saatchi wrote in the Guardian (2011), "Being an art buyer these days is comprehensively and indisputably vulgar. It is the sport of the Eurotrashy, hedge-fundy, Hamptonites and of dealers with masturbatory levels of self-regard." "Pot/kettle?" He should know. Perhaps the answer lies in something Will Gompertz wrote in 2014, "At the moment it feels like the Paris salon of the 19th century, where bureaucrats and conservatives combined to stifle the field of work. It was the Impressionists who forced a new system, led by the artists themselves. It created modern art and a whole new way of looking at things.” He went on to say, "We need artists to work outside the establishment and start looking at the world in a different way – to start challenging preconceptions instead of reinforcing them." Real artists are growing weary of being treated like performing seals by gallery ringmasters for the benefit of the philistinic glitterARTi. Maybe the time has finally come for a new "ism" that rejects the current "COMMERCIALISM". " - 19-10-2015  
" " The subject matter of Camille Henrot's inept scribble is a fitting summary of Frieze week and everything it stands for. As Charles Saatchi wrote in the Guardian (2011), "Being an art buyer these days is comprehensively and indisputably vulgar. It is the sport of the Eurotrashy, hedge-fundy, Hamptonites and of dealers with masturbatory levels of self-regard." "Pot/kettle?" He should know. Perhaps the answer lies in something Will Gompertz wrote in 2014, "At the moment it feels like the Paris salon of the 19th century, where bureaucrats and conservatives combined to stifle the field of work. It was the Impressionists who forced a new system, led by the artists themselves. It created modern art and a whole new way of looking at things.” He went on to say, "We need artists to work outside the establishment and start looking at the world in a different way – to start challenging preconceptions instead of reinforcing them." Real artists are growing weary of being treated like performing seals by gallery ringmasters for the benefit of the philistinic glitterARTi. Maybe the time has finally come for a new "ism" that rejects the current "COMMERCIALISM". Iain Maclean " - 19-10-2015  

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