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Four days, 290 galleries. Holly Black spoke to the directors and curators behind London’s Frieze and Frieze Masters, who gave a sneak preview of what visitors to the 5-8 October fairs can expect

As Frieze marks its 15th anniversary since first setting up shop Regent’s Park it continues to persistently push the boundaries and definitions of an art fair, with a programme that encompasses performance, film, museum collaborations and not-for-profit shows. This year, the hugely successful (and completely free) sculpture park extended its exhibiting period dramatically, with works by the likes of KAWS, Michael Craig-Martin, Eduardo Paolozzi and Anthony Caro installed in early July, offering visitors the chance to enjoy the outdoor exhibition before the international art world descends this October.

Above: Michael Craig-Martin, Wheelbarrow (red), 2013. New Art Centre/Gagosian. Frieze Sculpture 2017. Photo by Stephen White. Courtesy of Stephen White/Frieze. 

Frieze Masters, now in its sixth edition, will once again bring together works of art from throughout history, with 130 dealers presenting everything from medieval sculpture to Expressionist painting. This year Norman Rosenthal has curated the Collections Section, selecting objects including 19^th and 20^th century exhibition ephemera from Benjamin Spademan Rare Books and ancient textiles from Paul Hughes Fine Art.

Masters also runs its own independent talks programme, organised by Tim Marlow, the Royal Academy’s Artistic Director. He promises to deliver a series that rivals 2016, where ‘there was hardly an empty seat in the house – so a high bar has been set.’ Highlights include Isaac Julien in conversation with Nicholas Cullinan (Director of the National Portrait Gallery), Lynda Bengalis with Eika Schmidt (Director of the Uffizi Gallery) and Marina Abramović with Marlow himself.

Above: Dickinson Gallery, picture at Frieze Masters 2016. Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

While Masters employs something of a historical and museological approach, Frieze London has added yet more experimental factions to its ever-growing repertoire. Hayward Director Ralph Rugoff has somewhat cryptically alluded to the theme of investigating ‘post-truth’ and ‘alternative facts’ in his talk series, with the possibility of experimental dialogue between artists, curators and cultural commentators: ‘they may not correspond to your idea of what a “talk” is, I’m not sure myself what’s going to happen.’

In another move that encourages an excavation of sociopolitical histories curator Alison M. Gingeras has been invited to take over the ‘new section’ that investigated the cultural impact of the nineties last year. Her iteration is titled Sex Work: Feminist Art and Radical Politics, featuring nine solo presentations by pioneering feminist artists who have remained marginalised in major museum shows, including Penny Slinger, Judith Bernstein and Mary Beth Edelson.

‘Musicians Jarvis Cocker and Steve Mackey will create a surreal experience that eases attendees from a state blissful introspection into a full-on rave'.

Gingeras states that this special section ‘pays homage to artists who transgressed sexual mores, gender norms and the tyranny of political correctness.’ Victoria Siddall, Director of Frieze Fairs, has also affirmed that this new segment will be a permanent fixture, ‘we decided to have something each year that just happens the once and is truly unmissable; a section that is built around something that curators are very excited about at that moment’. As well as capturing the current zeitgeist it also offers valuable exposure to artists whose work might not otherwise be viewed as commercially viable.

Beyond this thematic mini-exhibition fair visitors can expect to see other subversive art forms in the roaming Live programme, with performances taking place at various interludes throughout the site. In addition the not-for-profit commissioning programme Projects includes new works by Moon Kyungwon and Jeon Joonho, who tell the story of a remote village on the border of North and South Korea, and artist collective SPIT!, who explore queer activism and gender politics.

Above: Last year's Frieze talks. Photograph by Linda Nylind. Courtesy of Linda Nylind/Frieze.

With so many collateral schemes on offer one could easily forget that the main crux of the fair lies in the some 160 international commercial galleries vying for attention. Such fierce competition has led some dealers to focus on heavily curated presentations in recent years, in order to elevate their position beyond that of a basic show stand. Hauser and Wirth continues to be a highlight; this time round it collaborates with historian Mary Beard to create an immersive environment that resembles a ‘dusty regional museum’. The installation will feature bronze artefacts loaned by institutions alongside for-sale objects and a collection of items acquired by Beard via eBay.

For less established galleries Frieze’s Focus sector offers subsidised rates to enterprises less than twelve years old, offering innovative newcomers such as Gypsum (Cairo) and Revolver Galería (Lima) the opportunity to partake for a fraction of the standard exhibiting fee. The fact that several participants have since graduated to the main fair section is a testament to the initiative’s commercial success and the positive impact of early exposure.

Above: Last year's attention-grabbing Live section, showing Gypsum. Photograph by Linda Nylind. Courtesy of Linda Nylind/Frieze.

One final move that sees Frieze collaborations transfer into the realm of popular culture is found in a durational event called Dancefloor Meditations, hosted by musicians Jarvis Cocker and Steve Mackey in partnership with The Vinyl Factory. Promising to ‘access the state of mind associated with deep meditation using only the tools to be found in any suburban discotheque’ it is set to be a surreal experience that eases attendees from a state blissful introspection into a full-on rave over the course of several hours, which will surely offer a welcome release for many an over-worked gallerist.

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