Monday, May 11
Performa Visionaries Event
Curator Roya Sachs is organizing this one-night only performance “Void” on May 11 as part of Performa’s Visionaries program. Dancers from the New York City Ballet Sean Suozzi and Claire Kretzschmar will perform choreography by Tory Schumacher in an interactive art installation by artist Jordan Backhus.
Live Stream HQ, Brooklyn, New York. 8pm. Invitation Only.

Tuesday, May 12
Pierre Huyghe at the Metropolitan Museum of Art
The French conceptual artist will debut his site-specific installation at the Metropolitan Museum of Art’s rooftop space. Judging from his outstanding show at LACMA last year, there will most probably be a queue to see the installation—but it will definitely be worth it. (See Is Pierre Huyghe the World’s Most Opaque Popular Artist? Ben Davis Sizes Up His LACMA Show).
The Metropolitan Museum of Art. Ticketed.

Stefano Tonchi and Ian Schrager Fête Edition New York and W Mag
The glossy mag will celebrate their Art Issue and the unveiling of Ian Schrager’s New York Edition hotel at the new space with a cocktail event including entertainment by Q-Tip. If it’s as wild as the duo’s Miami event (ice rink and bowling included) this surely will be one for the books.
Edition Hotel, New York. 10pm. Invitation Only.

Wednesday, May 13
Collective Design
The equivalent of Design Miami but in New York, Collective Design (in its third year running) is another one-stop place for all your wackiest design dreams.
Skylight Clarkson Sq, New York. Open to public.

The massive contemporary art fair’s VIP preview day starts on Wednesday (see See What Top Dealers Are Bringing to Frieze New York). Get ready to make this list your new best friend (see 10 Tips To Make Art Fairs More Fun)
Randall’s Island. Invitation only for preview, ticketed event.

This lesser-known satellite fair comes back to New York for its fourth reiteration. You’ll find under the radar galleries such as Transmitter, C24 gallery, and Alter Space showing emerging to mid-career artists.
548 Center, Chelsea. Ticketed.

Whitewall Magazine Cocktails
Fashion and art magazine Whitewall will host a cocktail party for the launch of their new art fair guide app, Whitewaller, with special guests Daniel Arsham, Hank Willis Thomas, Zoe Buckman, and Helen Toomer.
Edition Hotel, New York. Invitation Only.

ArtList x ArtBinder Party
Newcomers to the art-tech scene but no strangers to throwing raucous partiesArtList teams up with iPad art organizing app, ArtBinder, to host a bash to celebrate their three month anniversary (see Online Sales Platform Offers Artists a Cut).
Happy Ending. 10pm. Invitation Only.

Thursday, May 14
The emerging art fair will have its opening day on Thursday. Look forward to seeing both new and familiar artists at this satellite fair. Special projects in this year’s program include a poker tournament and a dog show.
Basketball City, 299 South Street, New York. Open to Public.

Art Miami New York
Organized by the team behind Art Miami, Art Southampton, Aqua, and Art Silicon Valley, this modern and contemporary art fair will come to New York for the first time. Its roster boasts 100 galleries showing 1,200 artists from 50 countries.
Pier 94, New York. Invitation only for preview, ticketed event.

Yoko Ono: One Woman Show, 1960–1971
The opening reception for “Yoko Ono: One Woman Show, 1960–1971″ at the MoMA will take place on Thursday to celebrate the museum’s upcoming solo exhibit of the 80-year-old artist.
Museum of Modern Art, New York. 7–9pm. Invitation Only.

Friday, May 15
The contemporary African art fair comes to New York for the first time. The nascent fair’s list of exhibitors include A Palazzo Gallery, David Krut Projects, and Afronova.
Pioneer Works, Brooklyn. Ticketed.


“Put yourself in a curator’s shoes,” the Frieze New York Art Fair asks in a sticker-festooned pamphlet for kids, “what artwork would you display if you could curate your own booth?” Teach your children well: despite the vanishing distinction between commerce and public benefit in art-fair publicity rhetoric, of which this aspirational toolkit for minors is a prime example, Frieze has delivered some strong showings amid the international pageantry of the London import’s fourth New York outing. (And the first, it should be noted, since Frieze fully resolved a longstanding labor dispute with the city’s unions.) Here’s a selection of booths worth seeing as you dodge neoliberal toddlers on Randall’s Island in the coming days.

Mor Charpentier (D35)
Carlos Motta’s “Thaumaturgical Withdrawals, Material Remains,” 2015, dominates one wall of this Paris gallery’s cerebral booth. The minimalistic silhouettes of Motta’s effaced religious icons adapted from devotional Christian works, 15 of which are rendered in acrylic on circular wooden panels, correspond obliquely with the polygon-embedded busts depicted in Julieta Aranda’s multi-medium “If a Body Meet a Body,” 2015. Two other artists in the booth, Cevdet Erek and Voluspa Jarpa, offer a departure from figuration (however problematized) altogether, with works oriented around the archival transmission of knowledge in media tied to paper and other physical standards: books, gridded sheets, rulers, and magnifying glasses.

Clifton Benevento (A34)
Zak Kitnick and D’ette Nogle present a pitch-perfect art fair booth in their investigation of Extra-Virgin Olive Oil (EVOO) for Clifton Benevento. Comprising a room-like installation by Kitnick featuring suspended bottles of olive oils of various origins, and a banner and an audio playlist by Nogle (the latter a mashup of soundtracks from the restaurants responsible for food concessions in the fair), the booth is a playful send-up of the notions of purity, provenance, and atmospheric branding that are the stock-in-trade of the art market’s heavily “curated” commercial environments.

Real Fine Arts (A4)
Yuji Agematsu’s lepidopterist approach to diminutive detritus collected on walks throughout New York, to which he decamped from Tokyo in the 1980s, makes for an intimately charismatic display at Real Fine Arts. This David-Hammons-meets-Vladimir Nabokov ethos will be further on view in a solo exhibition of the artist’s work set to open at the gallery’s Brooklyn space on May 17. (This is the first and last this-meets-that analogy you will see in this review.)

Henrique Faria Fine Art (A20)
Given over to the pioneering Brazilian painter and conceptualist Anna Bella Geiger, the booth for New York’s Henrique Faria Fine Art is part of Frieze’s “Spotlight” section dedicated to solo presentations of 20th-century artists. Geiger’s painterliness comes through in her conceptual works, with casual marks joining textual components in offering a serious-minded, if not heavy-handed, critique of various political conditions. Set against Brazil’s military dictatorship of the 1960s and ’70s, Geiger’s manipulation of language — “Say it with us,” reads one in Portuguese, “Bu-ro-cra-cia” (Bureaucracy); another reads “Amuleta/A mulata/A muleta/Am. Latina” — is paired with similar play in form, most often that of the South American continent. An equally playful but substantially different conceptualist is on view across the way, with the resurgent Lynn Hershman Leeson presented at Gallery Paule Anglim (B42).

Galeria Nara Roesler (A25)
Yet another historically significant Latin American conceptualist is presented at Galeria Nara 1431570373-854d0Roesler of Saõ Paulo: the Brazilian artist Antonio Dias. His “Illustration of Art” series begun in 1972 is on view here, with mixed-media paintings and collages that take a structural perspective on Suprematism and minimalism, reinserting political and art-systemic concepts into the formally spare work. Dias’s diagrammatical approach prefigures the later indexical practice of the Chinese-American painter David Diao, in particular his accounting for the work of Barnett Newman.

Vigo (B48)
The Sudanese artist Ibrahim El-Salahi stars at London’s Vigo Gallery, where paintings from the 1960s mingle with an arresting 57-panel set of illustrations on paper arranged in three rows of 19. El-Salahi is a leader of the modernist Khartoum School that emerged in the 1960s, and I last saw his work in concentration at his excellent 2013 retrospective at London’s Tate Modern. Given the ascendant interest in Middle Eastern modernism, as Andrew Russeth has recently written in Art News, this presentation should further expose American audiences to the work of this important non-European (albeit European-educated) painter.

Sfeir-Semler (B47)
Sfeir-Semler Gallery of Beirut and Hamburg is widely recognized for its roster of conceptually-oriented artists, and this presentation delivers on this promise. What the booth lacks in coherence — diminutive abstractions by Etel Adnan next to a documentary photograph by Yto Barrada next to a slapdash sculpture by Anna Boghiguian — it makes up for in outright strength and range. Of note is the booth’s one successful pairing: that of Wael Shawky’s glass puppets (also on view at Lisson Gallery’s booth, and in a solo exhibition at MoMA PS1 in Queens) with an abstract painting by the Lebanese artist Marwan, which casts Shawky’s otherwise uninteresting but weirdly popular marionettes in an intriguing kaleidoscopic light.

Project 88 Mumbai (D29)
Graphic novelists do not typically surface at blue-chip art fairs, but Project 88 of Mumbai gave over its booth to one such practitioner: Sarnath Banerjee. This critic is not ordinarily an enthusiast of graphic novels, but Berlin-based Banerjee easily belongs to the pantheon of the genre’s greatest. Like Art Spiegelman, Banerjee mixes potent storytelling — the main series on view covers Vasco da Gama’s “discovery” of Calicut, and was originally shown at the Kochi Biennale — with an acerbic wit. It’ll be interesting to see how this choice plays out for Project 88, as fair audiences do not seem the type to linger and read for a while, as this booth demands, but those who do will be richly rewarded.

Gladstone Gallery (B6)
Two repackaged institutional outings by TJ Wilcox are on view at Gladstone Gallery: the artist’s 2013 “In the Air” exhibition at the Whitney Museum, a 360-degree projection of Manhattan shot from a vantage point above Union Square, and material adapted from his 2014 trailer for the Metropolitan Opera’s “The Tales of Hoffmann.” It’s a visually stunning booth, with the film and video artist reworking aspects of the original projects for more conventional — read commercial — forms of display. (The “In the Air” piece, for example, consists of an editioned lightbox and editioned panoramic wallpaper, with some flexibility as to installation size.) An outer wall of the gargantuan Gladstone booth is papered over with a poster Wilcox made for the “In the Air” film, with the purchaser of the work also receiving the copyright itself — in other words, the ability to reproduce the work without limits.

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