FREIZE ART FAIR ADVENTURE 2019 - 3, 4, 5, 6, October

1335 Mabini, Manila presents Cian Dayrit. Detail.

FRIEZE ART FAIR Day One Frieze London

Because Frieze is a shiny monster of great volume and high intensity, LAAF suggests a visit starting from right to left. Or from the end towards the beginning. LAAF's day-ONE favourite sections are Woven and Focus. LAAF's day-ONE favourite gallery is 1335 Mabini, Manila presenting a young, militant, subtitle and funny Cian Dayrit. "Cian Dayrit creates elaborate visual compositions offering a critical examination of the seduction of nativism and nationalism within the moral universe of Filipiniana" read Frieze's info-sheet. "That's what was missing" said Antony when we reached 1335 Mabini's stand "Someone angry and talented and just beautiful".


LAAF's day-ONE second favourite gallery is Project Native Informant, London, presenting Sophia Al-Maria, American-Qatary artist with a painting and two videos behind which there is a very interesting and complicated story of a failed art-project. It's in Focus section.


Other interesting galleries in Woven section are: Galeria Marilia Razuk, Sao Paulo with a fine, memorable José Leonilson.

Local_30, Warsaw with a remarkable collection of 70s works by various Polish artists.

Martin Janda, Vienna with a curious...I will call it "Painting with an inserted object" by Roman Ondak, simultaneously representing Moscow and a bugged piece of furniture. For as we know,

Vienna is the retirement N1 destination for Soviet agentura.

Woven is curated by Cosmin Costinas.

To whom LAAF says Bravo!

3 October

1335 Mabini, Manila presents Cian Dayrit. Detail.

Master Time or Day Two at Frieze

Time turned out to be the big artist and master at Frieze Masters. For no matter how good are the masters presented in this part of the fair, Time is the omnipotent invisible shaper to sign a myriad of the works on display.

Many of the pieces haven't been half as good at the time of their creation. It's the wise hand of Master Time that continued shaping them through days, decades, centuries, before resting them polished to perfection for our joy in this spot in spacetime.

For this angel is only perfect now when Time has shaven half its hair and brushed away half of its right hand. The winds of Time has swept the angle's hair to one side; setting its wood into motion. Master Time has created dynamic, whereas before was mostly human stagnation.

Here one doesn't contemplate merely the work of the artist, but the work of Time performed on the work of the artist. Time has created much of the value in the exposition.

Old Time gives the most prestigious, expensive galleries an unexpected and unlikely aspect of humility. As in all time related matters, at Frieze Masters - which I now rename Frieze Time Masters - unlike at the other Frieze, the advice is to go ...chronologically. Starting from the beginning and in concentric circles. For at the beginning C1, is Sam Fogg, London with the wooden angel in question.

A roof angel holding a chalice, England, Norfolk, probably St Peter's Church, Swainsthrope, c.1400-50 at Sam Fogg

The other masterpiece created by Master Time out of human stagnation, in this case: thriftiness, wariness or pure greed, is to be found at a rather exceptional Gisèle Cröes a.s. Brussels, a gallery specialised in old Chinese art. Here are the two clay pots, of which remains mostly one, stuffed with old Chinese coins. In the two saving (or hiding?) pots Master time has rusted the coins, sticking them to each other, after which has broken the clay to expose its oeuvre.

In addition, Gisèle Cröes a.s. Brussels was the only gallery to think about the general aesthetic of its space and decorate it with some green life. The light, green spot was a much needed resting point for the eye - a touch I did appreciate amidst the deluge of colours and forms of the art fair.

Bundle of ancient Chinese coins, Song to Ming dynasty at Gisèle Cröes a.s. Brussels

Together with the mentioned above, all at N1 as LAAF's Frieze Time Masters favourites is also ArtAncient London with its collection of unique pieces created by Master Old Time in collaboration with Master Mother Nature. The beauty of this collection surpasses words and language. It consists of dinosaur spine, eggs from vanished Elephant Bird, banded iron formation, fossilised weeds and giant shells.

ArtAncient London, Master Nature Collection

Other N1 in the Time-rich Form-economic category is a mastodon (I am not sure why I am calling it mastodon) of a gallery : Ariadne, New York, London. With an unbelievable collection of Bronze Age idols, of extreme simplicity and beauty. And a Roman, votive right foot, it what looks like an Egyptian ankh shaped sandal, made of marble, from early AD times, which, if I could, would have been the first thing to acquire at this Frieze Time Masters. I wouldn't be able it explain why exactly.

Votive right foot, Roman, Marble, circa 2nd to 3rd century AD, Ariadne Gallery, New York, London

Last but not least, a word to be said about Time as an Old Revolutionary. Past times, it seems, were more engaged and rebellious. Hence, Frieze Time Masters feels more edgy, open for dialogue and relevant than Frieze London. This is one of the paradoxes of Time, isn't it? Excellent photography to be seen at Jenkins Johnson Gallery, San Francisco, New York and at Alison Jacques Gallery, London.

Gordon Parks, Untitled, Alabama 1956, Alison Jaques Gallery, London.