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Deutsche Bank Collection goes App
Curator Joan Young on Gabriel Orozco’s Commission for the Deutsche Guggenheim
Everyone is a Performer: Roman Ondák's "do not walk outside this area" at the Deutsche Guggenheim
Grammar of the Everyday: Notes on Roman Ondák
Deutsche Bank Once Again Main Sponsor of ART HK
No Place like Home - The 2012 Whitney Biennial
Sober Beauty: The Photographs of Berenice Abbott
Curtain up - The Premiere of Frieze New York
Gate to the Present - Wilhelm Sasnal in the Haus der Kunst in Munich
“Color in outer space is nonsense, in any case.”: Tracing Thomas Ruff’s Work
An interview with Brendan Fernandes


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Curtain up
The Premiere of Frieze New York

In record speed, London’s Frieze Art Fair has established itself as one of the most important trading posts for young art worldwide. Since its second run in 2004, Deutsche Bank has acted as main sponsor for the art fair, which regularly boasts more than 60,000 visitors. Now, Frieze has made the big leap over the Atlantic: the first Frieze New York opens on May 4, also with the support of Deutsche Bank. An overview by Achim Drucks.

A circus tent, a curved mirror, a mobile home in the form of a huge human body—Frieze Projects will transform Randall’s Island into “a fantasy world.” At least that’s the promise made by the young curator Cecilia Alemani, who selected the artists for the project series of the first Frieze New York. The setting and date of the new fair were excellent choices: with a splendid view of the Manhattan skyline, the park landscape on Randall’s Island is at its most beautiful in the spring. Most of the Frieze Projects are situated outdoors—such as Ulla von Brandenburg’s striped tent, site of a shadow play performance, and Virginia Overton’s curved mirror installed between trees, a work that transports the viewer into a kind of Alice in Wonderland world. The sculpture park is curated by Tom Eccles, renowned director of the Center for Curatorial Studies at Bard College; it offers possibilities for encountering contemporary art not only to Frieze visitors, but anyone making a day trip to the island in the East River. The popular artist Tomas Saraceno, for instance, creates one of his interactive installations, while Cerith Wyn Evans stages a fireworks piece. Ernesto Neto and Katja Strunz also have new works installed that were conceived especially for the sculpture park. Also on view along the waterfront of Randall’s Island are pieces by Louise Bourgeois, Ryan Gander and Jeppe Hein.

Along with the high-profile display by international galleries, the ambitious events program will ensure that the New York run of the Frieze Art Fair will be as huge a success as the London fair, which Deutsche Bank has supported since its second run in 2004. It was logical for the bank to initiate its cooperation with Frieze New York as well. The expansion of the partnership also furthers Deutsche Bank’s global art program; after acting as main sponsor in Asia with Art Hong Kong, it now supports one of the most promising young art fairs on the American continent.

In its lounge at Frieze New York, Deutsche Bank shows selected works from the corporate collection. The focus is on artists working with the theme of music. Gerhard Richter is present with his painted records of Glenn Gould, as are 12 panels of Hanne Darboven’s series Hommage á Picasso, made as a commissioned work for the Deutsche Guggenheim. “I write mathematical literature and mathematical music,” the conceptual artist once said about her works. Before she decided to make art, Darboven wanted to become a pianist; she had been writing music since 1979. Her composition Opus 60 was performed as a part of Hommage ŕ Picasso. Visitors to the lounge can listen to the symphony for 120 voices using a QR Code, as can ArtMag readers on this page.


Hanne Darboven, Opus 60, Symphony for 120 players
Junge Sinfonie Berlin, Conductor: Aurélien Bello

John Cage, one of the most influential composers of the 20th century and currently undergoing a rediscovery as a visual artist, is also on show in the lounge. Currently, the Akademie der Künste in Berlin dedicates a large exhibition to Cage’s art. Christian Marclay also works between the disciplines of music and visual art; his Graffiti Composition is on view, a 150-part series in which Berlin inhabitants took part in a collective composition. Representing the younger generation are artists like Xaviera Simmons, with her homage to the singer Grace Jones, and Jennie C. Jones, whose drawings have the casual elegance of Bebop and Cool Jazz.

Although New York counts among the world’s most important art metropolises, up until now there hasn’t been an art fair that properly reflected this status. The Armory Show suffered from the fact that it has grown larger and more unwieldy with the years, while the Art Show put on by the Art Dealers’ Association of America (ADAA) only admits native galleries. Thus, Frieze New York has an excellent chance to establish itself here. In any case, the list of over 170 galleries participating in the fair’s premiere is impressive and includes heavyweights like Hauser & Wirth, White Cube, and Gagosian, which means that the most important gallery worldwide is participating in a New York art fair for the first time. The Breeder, kurimanzutto, and Neu also represent pioneering positions that make their mark on the art discourse. Added to this are interesting newcomers reserved for the sections Focus and Frame. Here, for instance, the gallery Tang Contemporary Art from Beijing presents works by He An, whose neon works and installations investigate the influence of western mainstream culture on Chinese youth. Cinzia Friedlaender of Berlin shows Vincent Vulsma; the Dutch artist sheds light on the conditions of production, presentation, and distribution within the art market. An apt choice, in that Frieze repeatedly calls its own role in the art world into question in its projects series.

Some of the visitors to the fair can already familiarize themselves with the fair’s somewhat subversive agenda on the way to Randall’s Island. Limousines for VIP guests are equipped with UGPS instead of GPS—the “Undependable Global Positioning System” is an invention of Rick Moody’s. The author of the novel The Ice Storm is also a musician and songwriter and was invited to contribute a project to the series Frieze Sounds. His UGPS sends listeners on a poetic journey of confusion that could just as well be named after a jazz classic by Chet Baker, Let’s Get Lost. Along with Moody, two other artists were invited to create sound pieces. Martin Creed composed a hypnotic lullaby, while Frances Stark’s sound collage creates a humorous counterpoint to the usual fair chitchat. The contributions to Frieze Sounds can also be heard outside the VIP limousines: starting on May 4, they can be downloaded from the fair’s website.  

On the other hand, classical sounds are the mark of what is perhaps the most beautiful of all Frieze Projects: beneath a canopy of large oak trees, a 40-foot table is installed where Tim Rollins and Kids Of Survival (KOS) will conduct their first open workshop for children and youths. Using watercolors and inks, a vast painting-collage will be created on a musical score of Felix Mendelssohn’s A Midsummer Night’s Dream. The romantic chords that set Shakespeare’s most poetic play to music can be heard beneath the oak trees—and will surely inspire the children in their creative “work.”

Frieze New York
May 4–7 2012
Randall’s Island Park,
Manhattan, New York

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On View
Roman Ondák's Project for the Deutsche Guggenheim / The Sight of Sound - Art and Music at 60 Wall Gallery / Cornelia Schleime at Deutsche Bank Luxembourg
Deutsche Bank sponsors the major Jasper Johns show in Săo Paulo / Surreal Product Landscapes - Jeff Koons in Frankfurt / A great performance: Artists from the Deutsche Bank Collection at documenta 13 / Retro-Fictions: Made in Germany Two in Hanover / Pawel Althamer in Berlin, Bolzano, and Munich / An Invitation to See: Yto Barrada in the Ikon Gallery / Space for Wild Thought - The 2012 Paris Triennale
The Press on the Premiere of Frieze New York / The Press on "Found in Translation"at the Deutsche Guggenheim / "Frankfurt Museum Wonder" - The Press on the New Städel Museum
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