FAD Magazine

FAD Magazine covers contemporary art – News, Exhibitions and Interviews reported on from London

Golden Fiac

If the various editions of Frieze and Art Basel are the market leaders in fairs, then FIAC in Paris (16-20 Oct) is not far behind. It offers the established mix: blue chip galleries, part-subsidised young gallery sector, various special projects and performances. 200 galleries provide enough material to make any number of groupings, but after a while I noticed that my eye was caught by quite a few yellow or gold items. Maybe that was the colour of FIAC 2019:

Stefan Tcherepnin: ‘Canvas Wrap (Yellow)’ 2019 at Galerie Francesca Pia, Zurich. The American artist and musician is known for his friendly monsters, so this painting looking at us was not a particular surprise.  Sweet? The gallery told me this particular type craves sugar, so the goggle eyes may be pleading.

Jean-Michel Othoniel: ‘Precious Stoneware’ 2019 at Kukje Gallery, Seoul. No leading Art Fair is without some delicately monumental Othoniel glass bead works. Moreover, he has a show in the Louvre and the look has spread to its Metro entrance. I suspect his glass bricks,  new to market and prevalent at FIAC, will also become Fair staples.  They arise from a wish to honour the humble brick in the context of the tendency to demolish traditional housing in favour of concrete high rises, especially in India, where  Othoniel had a residency recently.

He Xiangyu: ‘Nine Lemons’ 2016 at SCAI THE BATHHOUSE, Tokyo. Ripe lemons are archetypally yellow, so it’s a neat trick that they are the only non-yellow areas in this painting. This is from the Berlin-based Chinese artist’s long term ‘Lemon Project’, based on research across 24 countries showing how the etymology of ‘yellow’ and of ‘lemon’ are entwined historically across cultures.

Kathleen Ryan: ‘Green Eyed Monster’ 2019 at Francois Ghebaly Gallery, LA. Ripe yellow and beyond… This oversized (70cm wide) mouldy lemon is made by adding countless beads and semi-precious stones to a polystyrene foam base, its rotten yet alluring state acting as a comments on the culture of consumer excess and waste.


Joseph Kosuth: ‘A.A.I.A.I (Yellow) (Eng-Latin)’ 1968 at Galerie 1900-2000, Paris. Even this classic black and white work is yellow. This is photostat at Kosuth’s required 4 feet square in order to make a pictorial impact with a definition he clipped from a dictionary (the clipping is for certification, not display). If art is about meaning, here’s some. But are art and colour conceptually different: one subjective, one objective? The cross-cultural variation in colour terms here suggests not…

Art writer and curator Paul Carey-Kent sees a lot of shows: we asked him to jot down whatever came into his head

Categories

Tags

Related Posts

Paul’s Gallery of the Week: Pilar Corrias

Paul’s Gallery of the Week: Pilar Corrias

Whilst several galleries have recently moved into the traditional art spaces of Cork Street, Pilar Corrias’s new flagship space is on nearby Conduit Street, with 5,000 sq ft over two floors. 

Alexis Hunter: ‘The Model’s Revenge I-III’, 1974 - Set of three silver gelatin prints, 41 x 51 cm

Paul’s Gallery of the Week: Richard Saltoun

I first met Richard Saltoun some 16 years ago, when he was dealing from Savile Row together with Laurent Delaye (who now runs his gallery from Ramsgate) prior to setting up on his own account in 2012

Trending Articles

Join the FAD newsletter and get the latest news and articles straight to your inbox

* indicates required