How was it at Frieze?

Frieze Masters induced calm with the color grey on floors and walls and the works on display by participating  were mostly of very high quality, if not  they seemed to have been dragged from forgotten corners in the back of a dusty store room and aired for reappraisal.  
The juxtaposition of the old, and I mean 7000 years old and as  the recently new as 2000 was a good mix and gave rise for contemplation of why we still want to produce and conserve the art traditions. I wonder how many of the works to be seen in 1oth Frieze London today will still be there to be viewed in 7000 years time from now? How well will they still be able to be read in the minds and  eyes of future prospectors of art? 

I actually spent a long time at Moshe Tabibnia from Milan looking at intricate weavings and and rare ancient textiles blurring the boundaries between art and design at the Fair.
At Frieze London the contemporary selections seemed to me to be ultra restrained, with few surprises as such. And I wish I had had more time to spend on the exhibitions that did not take part in Frieze like Haunch of Venison showing exciting work by Joana Vasconcelos and the London Fine Art Society.
Back at the Fair though I was enchanted by ‘Forcing a Miracle’ a work by Joanna Rajkowska that made my exit smokey and heavenly perfumed and stopped me in my tracks despite the pouring rain.  The artist burned round cakes of incense over a sizeable area of glissening grassy ground,  with the idea of giving thought and desires a physical emanation. She planned it as both a comment on Frieze requiring a certain state of mind  as well as a comment on the artist’s personal need for a miracle.

Fiona Tan , Vox Populi London, Frith Street Gallery.

Chetwyn Spartakus, currently named for the Turner Prize

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