3 posts tagged "Frieze"
Etro’s creative director of accessories, Jacopo Etro, decided it was high time to give paisley some love. “Paisley is the DNA of our brand, and we wondered how it would look through the eyes of contemporary artists. Given that the pattern’s historical roots are Indian, it was logical to team up with Indian artists—they obviously grew up and were surrounded by the print, so I was intrigued to see how they saw it in a modern sense.”
Etro sought out duo Thukral & Tagra—cult artists who he has long admired—and invited them to collaborate on a capsule of collection of accessories, which go on sale today in the Bond Street store. A series of bags in jewel-toned blue, green, and a deep mahogany brown get the full Thukral & Tagra treatment, which is based on surrealistic, fantastical notions. “I asked the artists to go through the archives, and before you knew it, they were on the computer making up these prints and almost obsessively creating these repeat patterns in a numeric fashion,” said Etro.
The Thukral & Tagra prints are actually renderings of houses festooned with lights and surrounded by gardens. “That was the artists’ little tongue-in-cheek poke at the burgeoning nouveau riche in India. The two gentlemen thought that this moment in Indian history had to be recorded.” An event will be held tomorrow night at the brand’s Bond Street shop to celebrate the launch, and Etro will further endorse his admiration of the artists by exhibiting ten of their works. “Of course, since this is Frieze week, I thought it was a good idea to give these incredible artists a little bit more global exposure.”
“There comes a moment in every artist’s life when it is important to ask, what is going to be my legacy,” said Marina Abramovic this morning. She announced one answer to her own question at a private presentation and breakfast: with plans for her namesake institute in Hudson, New York, slated to open in 2014. Despite being early Monday morning, post-Frieze, a crowd of art-philes—including gallerist Serge Le Borgne, architect Shohei Shigematsu, and Milan city councilor Stefano Boeri—assembled inside the Performance Dome at MoMA PS1 for a first glimpse at the long-anticipated Marina Abramovic Institute, dedicated to the preservation of performance art.
After espresso and quiche, MoMA chief curator at large Klaus Biesenbach introduced Abramovic, who described the mission of the institute. “After my three-month performance at MoMA, I realized that only long-duration works have serious potential to change the viewer, because there is no division between normal daily activity and performance,” she explained. “I wanted to create a laboratory where the public can learn how to view performance work in a comfortable, no-stress space.” Helmed by architect Rem Koolhaas, the former cinema-turned-tennis club will feature a theater with surrounding classrooms, a library, and a gym as well as crystal chambers and “levitation rooms” for viewers to “regenerate.” According to Abramovic, visitors will be asked to sign contracts, giving their “word of honor” that they will stay for at least two and a half hours in the exhibit, and wear lab coats with noise-canceling headphones to experience her long-duration oeuvres, which can last from six hours to a whopping 365 days. (Fret not—Abramovic is creating recliner-cum-wheelchair devices, in which guests can sleep and be rolled in and out of performances at their leisure, or they can retreat to nearby hotels, which she eventually hopes to build for the influx of visitors.) With a fundraising target of $8 million, Abramovic has certainly set her sights high. Her ultimate goal? “To become a brand like Coca Cola, but for hard-core performance art.”
If you’ve got the resources to buy contemporary art—or the admirable envy suppression to spectate as others do—it’s a good week to be in New York. Sotheby’s and Christie’s contemporary art evening sales commence next week, and beginning tomorrow, London’s Frieze Art Fair arrives for its first-ever New York residency, setting up shop on Randall’s Island, where upwards of 25,000 people are expected to descend. Frieze’s tireless directors, Matthew Slotover and Amanda Sharp (he, London-based; she, New York), have not only corralled 180 galleries for the event; they’ve also commissioned sculptures for an outdoor sculpture park; audio works for a sound-art program; a speaker series; a slate of on-site performances and projects, including a reconstruction by John Ahearn of his 1979 exhibition South Bronx Hall of Fame; and pop-up restaurants, cafés, and food trucks from art-world hangouts like Sant Ambroeus, the Fat Radish, Roberta’s, and the Standard. On the eve of the fair, Slotover spoke with Style.com about New York versus London, the fair and the gallery, and fashion’s enduring fixation with the world of contemporary art.
Frieze Art Fair runs May 4 through 7, 2012, on Randall’s Island, NYC. For information, tickets, and more details, visit www.friezenewyork.com.
Frieze in London is a huge and well-established event. How is New York going to be similar or different? Are you conceiving of it as quite separate, or will it be modeled on the original?
Well, I mean the great thing about having the Frieze in New York is that there is so much else to offer in the city. You know, there’s museums and galleries, and restaurants and bars and everything. We’re really working with galleries [outside the fair], too. There’s an event Saturday night in Chelsea, there’s something Sunday night on the Lower East Side.
Frieze’s co-director, Amanda Sharp, lives in New York; you live in London. How do you see the art scene differ in New York versus London, in terms of appreciation and in terms of buying?
That’s a really good question. One view of the issue is that in London you’ve got like 500 people in the art world and 500,000 people, the general public, who are interested in art. In New York, you have 5,000 people in the art world…but the general public is not as interested in art. I don’t know if that’s true; I go to museums here and they seem pretty full to me. But I think certainly there’s more galleries, there’s more collectors, there’s more major museums here, but in London we have had this massive general public kind of uptake on contemporary art, which is reflected in the media. There might be a subtle difference in that. [But] essentially, they’re two very important art cities, and those in places we always enjoy doing fairs, because they’re just incredibly cultured cities, with a lot to do. They’re attractive for people to come to, and there’s a great informed public there. They probably have more similarities than differences. Continue Reading “Deep Frieze: London’s Premiere Art Fair Arrives In New York” »