The Frieze tents have been erected once again! Bright, shiny fluorescent lights—booth after booth of works snowballing into a multitude of sensory impressions.
A succession of consumables forcibly enter ears, eyes, and noses, swirling into a mixture of excitement and wonder but also the unavoidable cynicism at seeing the materialisation of the uber-capitalist art market into a buzzing, swarming, seemingly ceaseless barrage of art.
Tom Humphrey’s ceramic works look like they could have been lifted out of an archaeological site from the future covered in Vesuvian dust:
Activity centres abound, as with Villa Design Group, setting up a veritable internet shop:
Santo Talone’s fountain, constructed from what he imagines the plumbing of architect Piero Portaluppi’s never realised fountains would have looked like, contain a curated show of coins designed by artists like Ryan Gander, Anne de Vries and John Baldessari who were asked to reconstruct a euro coin from memory.
(On a side note, the running water in the rest of the fair stopped working that day—imagine all the overjoyed bacilli hopping back and forth between the countless shaking hands.)
Jonathan P. Watts’ collaboration with two dancers who respond to his observations of the Frieze fair, read out loud by the performers while they translate his words into bodily gestures.
And, let’s not forget, the never-ending splay of the gradient.