Frieze NY and art market in 2012. The impressions of the artist PS3*Pedro Sanchez3.
Frieze NY 2012 and the art market situation by an artist
After our visit to Frieze 2012, we wanted to know the opinion of an artist about this art fair and the art market in general. So today, we are delighted to share with you the impressions of PS3*Pedro Sanchez3.
In regard of an interview The Coolture requested me to write my impressions about the FRIEZE New York Art Fair
Frieze New York Art Fair. The natural light coming through the ceiling made everything look better at Randall’s island park with its great outdoors sculpture Park. Adding a touch of natural beauty and reducing the feeling of claustrophobia. The aesthetic of the booths and the presentation of the works of art were at Frieze NY 2012 a matter of an artistic concept. With a competition for the best stand booth $10,000 prize winner. In my opinion, this contributed to make Frieze something like a visual experience.
Unlike the Armory Show, Frieze NY 2012 combined in the same cocktail of presentation unknown, young, emergent and mid established artists and galleries: Jocelyn Wolf, Experimenter, GB Agency, Standard Oslo, Canada, Mehdi Chouakri, with super established galleries as Gagosian, White Cube, Gavin’s Brown Enterprise. Air de Paris, Lison, 303, Ivon Lambert, Victoria Miro, The Pace Thaddeus Ropac, Perrotin.
The Armory Show is most likely only open to élite galleries, what could make it look more predictable and less interesting. Frieze NY 2012 could be seen perhaps less elitist and more open to a more diverse great choice of international artists and galleries.
However it’s been said, (artnet), that at the same time as Frieze there were big sales scheduled in auction houses in NYC. And this is not by chance, but I believe it is rather a commercial action between art dealers and collectors, performed to increase and secure the instabilities of the current art market. This might impulse market speculation and lead buyers to acquire works of art by consolidated artists as an investment. It’s been also commented, (villagevoice, guardian) that there is an increasing élite collecting art in art fairs. Reaching top prices that were marked and staged in successive actions in the art market. An orchestrated cooperation between some art collectors and galleries, who have gained a stunning economic support, through privileged influential contacts and powerful relationships. In my opinion, this 1% of the society are re-directing the culture and creating patterns of desire for their own benefit.
I think that, the problem associated with this form of art investment, is that it is quite limited, and it does not encourage experimentation. On the contrary, it minimizes the chances of unknown and young artists, that work in a less commercial and more alternative kind of art, to get in the market. In the current situation, whether they like it or not, many artists are working for this kind of imposed market. The culture of speculation is reaching also a new class in countries such as China, India and Russia, with hundreds of new museums to fill in with works of art, a trend that drives the art market today.
Frieze NY 2012 presented itself as an attractive and cheerful venue, thanks for example, to projects like “Frame”. “Frame” is a section of the fair dedicated to solo artist presentations some of them as installations, showing young galleries from around the world that have been in existence for less than six years.
Also “Frieze Projects”, that was a programme of artists’ commissioned to produce unique works as part of the inaugural Frieze Projects program for Frieze New York. For example with John Ahearn, who presented a reconstruction of his 1979 exhibition ‘South Bronx Hall of Fame’, an exhibition of sculptural casts originally presented at Fashion Moda, a pioneering South Bronx alternative space founded by Stefan Eins in 1978 and open until 1993. His project functioned as a tribute to the alternative spaces and galleries that were once vital for the artistic community and have now closed. Or Tim Rollins and K.O.S. (kids of survival), as they state: “What we’re doing changes people’s conception about who can make art, how art is made, who can learn and what’s possible, because a lot of these kids had been written off by the school system. This is our revenge.”
Anyway Art fairs based strictly on economic up and down fluctuations success, will not be able to liberate an state of the art so much depended and dominated by profitable markets. Because art is much more than market it is our culture and no soul for sale.
Multidisciplinary artist Madrid born. He uses a range of media to produce expressive, penetrating artworks. Films created in his journey of life, between, Tokyo, New York, and Europe: Madrid, Berlin, Paris, London. As someone whose work is grounded in the international language, his work has a wealth of diverse approaches to the medium of Art films. Over two decades, through a series of rather huge site specific installations developed from an early engagement of sculpture, and paintings, including documentary experimental short films & video art. Currently live and work in New York since May 2008.