This year at Frieze it was certainly a lot more reserved than in previous years. Jake and Dino’s Chapman’s “The Milk of Human Weakness” failed to bring the shock factor to the growing crowds, with most of the White Cube’s visitors focusing on Marc Quinn’s “Zombie Boy”. Christian Jankowski’s over hyped “The Finest Art on Water”, 2011 only attracted groups of envious men whilst their wives and girlfriends went off to look at actual art around the fair. Pierre Huyghe’s “Recollection” suffered a few hiccups with immigration on the way over but in the end created a “semi quiet room” in the hectic World of Frieze. Unfortunately though, the noise from the overcrowded canteen proved too much for the secluded room to be labeled peaceful.
Aside from the low points of the fair there were also many highlights, including Michael Landy’s “Credit Card Destroying Machine”, Laure Prouvost’s witty plaques dotted around the fair in sometimes the most unusual of places, and Do Ho Suh’s absolutely stunning work “Cause and Effect” which was comprised of lots of little acrylic men resting on each others shoulders. Elmgreen & Dragset were also hot on everyone’s tongues with their morbid real life morgue installation, really bringing the lighthearted levels down a notch or two! It was a good thing that neon tubes were in abundance picking up the fairly somber mood with Tracey Emin leading the way, but also not forgetting Glenn Ligon’s provocative “Warm Broad Glow II” and Frame artist “Jung Lee” holding their corner in the battle of the neons.
All in all, this entire Frieze was a tamer, less sexy and shocking Frieze that we have all grown to love, but yet had some key pieces that we will not be forgetting anytime soon.
Photos by Amy Binding.