This was my third time visiting Frieze Art Fair. The first time I dressed like a stereotypical art student. Any attempt to speak to a galley member was met with minimal response and attention. This year was not much different.
It’s interesting how much the gallery representatives pay attention to the appearance of passers by. Unless you have a VIP pass and a suit to match the chances of striking a real conversation with any of the galleries is minimal. Perhaps because my aim in visiting is different from the gallery’s aim. They come to Frieze to sell art work. Why strike a conversation with the unestablished while there are plenty of recognisable names and faces walking the fair.
This year was slightly quieter, less chaotic. One of my favourite pieces was Hauser and Wirths ‘L’atelier d’artistes’, a studio style exhibition piece which explored the dissection and recreation of artists studio spaces. It played more on the immersion of the audience in an environment; every aspect of the room became a possible art piece; as apposed to the typical piece of art work for sale placed on the floor or the wall seen through out the rest of the fair.
Despite Friezes commercialised negatives the fair provides a platform for a range of galleries to communicate and present their best artists work. It allows audiences to travel to a singular location to physically view work from a series of galleries from across the world. Such a system provides a view through the commercialised window of the art world, by gathering large crowds of artists, the public, gallerists and buyers, enabling and encouraging a platform for conversations regarding art, its place in society and its future.