this issue contains
>> Deutsche Bank auf der Frieze Art Fair
>> The Press on Douglas Gordon's "The Vanity of Allegory"
>> Art Fairs 2005: Interview with Friedhelm Hütte

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London Calling:
The international art scene gets together at the third Frieze Art Fair


In 2003, it took a gigantic leap and claimed a place among the most important international art fairs: a success story the Frieze Art Fair is now carrying into its third year. The fair’s focus is on young art, and that’s exactly what makes it such an interesting partner for Deutsche Bank, which will remain committed to Frieze as a main sponsor for years to come. This year, the bank is once again presenting its art activities with its own stand in London.




Das Messezelt der Frieze Art Fair Foto © Frieze Art Fair

It’s considered to be Europe’s hippest art fair. In the white tent on the edge of Regent’s Park, celebrities, models, and music stars provide the A-list glamour while royalty meet media makers and financial players chat with diplomats. But more than anything else, from October 20 to 24 the Frieze Art Fair will be luring art enthusiasts, collectors, and the most influential gallery dealers in contemporary positions worldwide to London City. Deutsche Bank has some very good reasons for sponsoring the event; it too has been making the support of current art a high priority for some time. "What makes the fair so unusual is the high quality of the participating galleries and the concentration on young aspiring artists," as Pierre de Weck, Global Head of Private Wealth Management and member of the Executive Committee of Deutsche Bank, has said. "And we’re very proud to be taking part in such an exciting and dynamic event and to be able to further Deutsche Bank’s worldwide commitment to new art and new ideas."


Blick in die Frieze Art Fair Foto © Frieze Art Fair
Elizabeth Peyton, Michael Clark, 2005, Courtesy Two Palms



And the stands at the largest London fair for contemporary art were highly coveted this time, as well: it’s no wonder, with 42,000 visitors and around £26 million sales last year. More than 450 international galleries applied; 160 are now presenting themselves in London with the works of their most important artists. Many of the works shown are fresh from the studio and enable the viewer to get a sense of the current trends on the art scene. Frieze’s typical juxtaposition of established global players on the art market – such as Barbara Gladstone from New York, White Cube, the London home of the Young British Artists, or Thaddaeus Ropac from Salzburg – with notable newcomers such as Peres Projects from Los Angeles and Iris Kadel from Karlsruhe certainly guarantees this.


Hussein Chalayan, The Absent Presence, 2005,
Courtesy Galerist


James Welling, 031, 2004,
Courtesy Donald Young Gallery

British art is also prominent, of course, with provocative sculptures by Sarah Lucas, portraits by Elisabeth Peyton, or works by Hussein Chalayan, who moves between the areas of art and fashion. From Stockholm, Jockum Nordström is showing his intimate works on paper, which are reminiscent of children’s drawings, while photographic works by the artist duo Allora & Calzadilla, who live in Puerto Rico, encounter installations by the South Korean Do-Ho Suh and the probably most internationally successful Japanese woman artist, Yayoi Kusama, who has been covering canvases and entire rooms with dots and net-like structures since the sixties.



Yayoi Kusama, Dots Obsession, 2000, Installationsansicht,
Courtesy Studio Guenzani

At this year’s Frieze, Deutsche Bank is presenting itself in great style: "Contemporary Moroccan" is the catchword for the look of the spacious VIP lounge with primarily monochrome works hung on dark walls, in which clients and guests can learn about the largest corporate collection worldwide. On the other hand, in the public area of the tent at Regent’s Park, the Deutsche Bank Art stand has been transformed into an installation by the Berlin-based artist Ursula Döbereiner.


Ursula Döbereiner, spaces into spaces, 2005,
spaces into spaces, 2005, Study for the stand of Deutsche Bank Art

©Ursula Döbereiner, Courtesy Laura Mars Grp.

Visitors enter and become surrounded by a huge drawing as they inform themselves about the bank’s art activities and the internet magazine db artmag. For her work, Döbereiner has wallpapered the walls and counters of the lounge with huge paper banners on which digitalized hand drawings are superimposed with computer-generated images: film motifs, close-ups of technical equipment, and slogans interlock to form a monumental collage.

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