Weaving through the scrutinising alabaster booths of Frieze Art Fair, the question that I found myself repeatedly asking was: does an Art Fair have to be, by definition, a spectacle? In the context of the framed, white background and harsh light, indeed everything seems to be on show. But does this mean all the art is striving towards exhibitionism?
I personally don’t think so. The things that stand out as good art works are the unexpected moments of stillness in the midst of the usual frenetic disorder; the carefully made, intelligent pieces that are more than attention-seeking vanity projects pretending to be ‘art’. The quality art-works are noticeable, offering more than a spectacle; they are thoughtful, provoking, have some sort of emotional resonance, and are above all, beautifully made.
FRIZEZ LONDON INSTALLATION VIEW
One of this year’s highlights was Juergen’s Staack’s WE1 Pictures (Konrad Fischer Galerie). Working within the tradition of French Art Informel which was first pioneered in the 1950’s, Staack’s abstract work employs spontaneous and loose brushwork, layering his canvas with thick paint while subtly implying a political message. Growing out of the post World-War II reconsideration of art, Art Informel had strong political roots. It was a tradition loaded with political connotations; breaking down academic values and in doing so, finding a new expression in abstraction. Staack develops from Art Informel techniques, inscribing a bold political statement into his work. The focal point are the mysterious numbers emerging from the distressed surface of the paint printed on the wall (when bought, the artist re-prints the work each time afresh, erasing the old version).
Speaking to the Director of the Konrad Fischer gallery, Thomas Rieger, he told me that the numbers are Japanese black market telephone numbers, which Staack took from walls all over Japan, that are quickly erased when they are used. Recorded voices peppered the air around the work, answering ‘hello’, as the artist called these numbers he had found on walls. It was a highly charged and complicated work, I was drawn to its layers, its puzzle-like nature and simply, the fact it was beautiful.
Other highlights were Jaqueline Martin Gallery’s exhibition of the single work and photograph of Genilson Soares as part of Frieze Frame, as well as Alison Jacques’ Booth (pictured below) and Thomas Schmitt’s Jimmy Durham installation.
On the South side of the park,  Frieze Masters returned for its second year. For me, this is better part of Frieze –  it’s more mature and refined older teacher. Masters elegantly blends the old and new, a far less frenetic experience than the original Frieze. Packed with exceptional quality works, highlights included Johnny Van Haeften’s Breughel (the Younger), Lefevre’s booth of Edward Burra’s, Luc Baroni Gallery’s collection of incredible masters including Mancini and Fuseli, the Thomas Solomon booth solely devoted to  Gordon Matta-Clark, Sean Kelly Gallery‘s Joseph Kosuth work, Cheim & Read’s Joan Mitchell and Sperone Westwater’s installation of Carl Andre poems and works.
FRIZEZ LONDON INSTALLATION VIEW
by Diana Kurakina