It’s 2012. It’s nearly Summer (supposedly). You’re bored of going to see artworks by ultra-famous artists in a silent, sterile gallery setting. What to do? Go to some smaller, less restrictive galleries? Search out some local artists? Get your supplies out and start creating some tantalising guerrilla art in the South Kensington underpass? All good plans, although the third may earn you some extra time in another very different confined space, so maybe drop that one off your list.
What about…an art fair? No I’m not talking about your local craft-style fair, with trestle tables leading dizzyingly into the horizon and a small town’s worth of kids legging it full speed to the bouncy castle – although they can be great too. I’m talking about art fairs such as Frieze, which I had my first experience of in October last year. Frieze is a contemporary art fair which showcases the latest works being sold by top galleries. It is essentially a commercial enterprise, a fact unbeknownst to me, a mere mortal, as I wandered through. Obviously no prices are displayed or catalogues given out to point out that I could, very much theoretically, buy these works. The gallery owners can smell the money (or in my case, lack of it) and I was therefore left happily alone to wander around. For hours. And hours. And hours. The place is immense. I had just begun to go the art equivalent of snow-blind when I decided it might be time to sit down and stare at the floor for a while to give my synapses a chance to regenerate.
I might sound as if I’m being negative about Frieze; I’m actually not. I just felt it was beyond me. It didn’t feel designed for me. For a start the focus was on galleries. I’m interested in Art. Less so in its commercial value, its collectability etc. The business side of art is to me a sad necessity. It’s the death of a bee after its sting. It’s the parent that sends their child to a school 2 hours away to get them a good education. It’s a shame, but what’s the alternative? I don’t have an answer to that. The fact that Frieze is set out by gallery is a pretty clear indicator that a lot of people visiting will know where they’re going and will have a plan of action. I didn’t. Hence the snow-blind episode. However, on the positive side the gallery format actually means that you see an eclectic array of artworks by some very different artists. It gives you a sliver of insight into what’s ‘in vogue’ for the art-producing international elite. I found it interesting to see a focus on mirrored/shiny surfaces used as canvas. Ceramic tiles, black mirrors, standard mirrors, reflective metals; some painted, some manipulated, some used as a sculptural base. Fabrics were also a strong theme, and popular with the public too, judging by the crowds loitering by certain pieces.
I’m soon to try out another event, taking place on May 10th – 13th. The Other Art Fair is a new concept whereby the artists shown are unrepresented ie. they are not being shown by a gallery but by themselves. I must say this approach is more appealing to my liberal values than that of the traditional gallery sale. The pieces are affordable, even for me, at £50 upwards, although this in itself is not revolutionary. Throughout the year the Affordable Art Fair weaves its way across the world selling works costing up to a maximum of £4000. The London leg of the AAF at Battersea takes place 25-28 Oct 2012 which is…hmmm let me see, 2 weeks after the Frieze show. Coincidence? I imagine not. Whet our whistles with the big stuff, let us be all weepy and disappointed that we fell in love but were just not rich enough to make the cut. Then swoop in with the revelation that we can have some beautiful art, that there is a show made just for us. The galleries still get their pounds (albeit a little less) to top up their coffers, and we go away grinning with our new acquisition to show off to Janet next door. Clever marketing team.
At least with The Other Art Fair you’re buying from the source. Only for the moment of course, they don’t make any secret of the fact that these newbies will be signed by a gallery at some point, but for the moment they are still ours, we still matter to them. The passing over of their work to someone else has not yet taken on it’s full business-like format and still has an element of emotion and attachment. I hope to see an artist clinging to their sculpture screaming ‘No! I won’t let you take it! It doesn’t belong with you! You don’t understand it!. That’s the vibe I’m going for. I hope it lives up to my expectations…