4th edition and a new succes for the fRIEZE NY ART FAIR

Randall's Island Park in Manhattan (NY) has recalled the attention and looks of the great collectors, dealers and art lovers around the world in the fourth edition of the Frieze Art Fair.

 
From 14 to 17 May, the huge marquee feature FRIEZE brought together more than 180 contemporary art galleries worldwide including the Spanish participated Elba Benítez (Madrid), Espaivisor (Valencia) and Four Crossing (Madrid / Guadalajara-Mexico).
 
NY FRIEZE has galleries with an eye to the future of art, a dynamic and emerging art embodied in more than 1,000 international artists in addition to the Frieze Projects program, devoted to proposals designed especially for the show, and Frieze Talks, the program panel discussions and lectures at the fair.
 
The fair, twinned with Frieze London, also includes Frame section dedicated to presenting emerging artists in solo galleries. Frieze is also one of the few fairs that focus on contemporary art and living artists, gallery owners consider something very interesting to revalue its products, as Jeff Burch, the director of the New York gallery PACE explains.
 
"We come here because it is one of the few fairs that teach young art, sold for $ 10,000, and yet very established artists, who could sell their pieces for $ 5 million," said Burch.
 
 
The contemporary approach to FRIEZE out in proposals such as the Spanish gallery Crossing Four and original flower vases designed in two dimensions by Mexican Milena Muzquiz that relies on direct action with the audience you are invited to buy flowers as if a florist is involved.
 
The big news which includes the 2015 edition of the fair is the introduction of "Spotlight", a new section for solo presentations of art of the twentieth century, under the leadership of Brazilian Adriano Pedrosa, mimics one of the most applauded his efforts same name on the other side of the Atlantic.
 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.