London Art Fair 2015

I recently wandered through the stands of the London Art Fair 2015. I had never been before to the Business Design Centre (Islington) before, and I was somehow impressed by the arrangement of the fair in this pavilion. The space is huge, the things to see so many… The exhibition was arranged onto three levels: most of the galleries displayed their works downstairs, in the Main Fair area, while at Level 1 you had “Art Projects”, showing the newest contemporary art installations from all over the world, and “Dialogues”, a collaborative space shared by British and international galleries. There was also a special section dedicated to contemporary photography pratices, “Photo50”, on Level 2.

Most of the works exposed were contemporary, but I was surprised not to find too many controversial pieces, being really shocked only by a small installation set in a corner, on the floor, featuring a little jewelry box containing a babydoll. It was disturbing to see this baby left there, on the ground – it felt exactly as it had been forsaken.

Melody, by Wendy Mayer, 2014. Mixed media, 28x26x36 cm.

Actually, I found most works quite interesting. Some were reaching (or at least trying to reach) new visual possibilities, some others were playing with ancient tools, from Western and non-Western traditions, to create odd looking sculptures. The degree of freedom in contemporary art is something exciting and preoccupying at the same time. It is really the end of art as we knew it, but I am still not sure wether this is a good or a bad change. I often get the feeling that contemporary art is extremely simplicistic, falling in something that does not differ much from advertising. As if a work of art must shock, bewilder you. It must be sensational, with no sense of aesthetics.

It is not always like that of course. Here are some examples of good art from the fair. I took some pictures with my phone, following my sensations. However, I also have to thank the Sotheby specialist who guided me thorugh a bunch of what for her were the key galleries. In the end, it turned out that she is a MA student like me (as a matter of fact, she was the only one at the fair who interacted with me as I were a human being, and not just a pennyless, useless student).

Sicily, by Elaine Pamphilon. Mixed media on canvas, 80×100 cm. (Adam Gallery)

The stunning colors of this painting closely resemble reality. I love the way the blue of the sea becomes the sky in the upper part of the composition. The green of the maritime trees almost makes you smell the perfume of the wind in the wild landscape, where the touch of mankind is only visible in the distance, a small, unoffensive presence among the natural elements. Sicily is really present in this picture, with its vivid colours and hard shapes.

The politics of Mary Seacole, by Adjani Okpu-Egbe, 2014.
Mixed media on canvas,
150x120x3 cm
(Knight Webb Gallery)

Best personal discovery was the expressionist artist Adjani Okpu-Egbe, who striked me with his version of Mother Seacole, a smart mixed woman who gave first aid to wounded British soldiers during the Crimean war. I shall write a post on Adjani soon.

I finally mention the Goodman Fine Art Gallery, specialised in second post-war period British artists, for the very interesting setting up of their stand. I mostly admired three pieces: a very rare litograph by Fancis Bacon, a study for the portrait of his lover, John Edwards. Second, a beautiful Fang sculpture from 19th c. Guinea, displayed in a shiny showcase. Last but not least I think the juxtaposition of a Paolozzi head with a Virgin Mary from the High Middle Ages was particularly well matched.  (I’m sorry my pictures do not render justice enough of this). Overall, Goodman Fine Art was the best stand I visited at the London Art Fair 2015.

To conclude, a brief comment on the fauna that animated the fair. Radical chic here is the expression. Most curators were wearing that “I-am-unique-and-my-style-shows-it” outfit, basically black shirts, topped with coloured braces or blatant vests for men, refined shawls and exotic jewelry for women, which made me smile all along since they all vaguely resembled each other. The waiters impassively distribuited (watery) drinks and chased empty glasses left everywhere. Most people of course where at the fair to buy, and the presence of random viewers like me was not well welcomed, I felt. As if they could not understand what is the pleasure in visual appreciation, without an interest in ownership and monetary value. But let’s leave this for another post.

Useful links:
Official London Art Fair 2015 website: http://www.londonartfair.co.uk
Elaine Pamphilon’s website: www.elainepamphilon.com
Goodman Fine Art website: www.goodmanfineart.com
Knight Webb Gallery (for Adjani): www.knightwebbgallery.com
Interesting website on art and artists: http://www.artsy.net

Fang Sculpture, Guinea, 19th c. Wood and metal, approximate height 13 inches (Goodman Fine Art)

Paolozzi Head and Virigin dated 1200 .ca (Goodman Fine Art)

Study for portrait of John Edwards, by Francis Bacon, 1987
Litograph, 68×49 cm (Goodman Fine Art)