Octobers two – week marathon of art fairs and auctions in London and Paris, besides proving surprisingly successful, spurred a vigorous debate about the relative merits of Frieze and fiac Devoted to primary – market contemporary art, Frieze is nearing its 10th anniversary in its trademark Regents Park tent, while fiac, at 38, presents both secondary – market modern art and contemporary material in the elegant ambience of the renovated Grand Palais.
“The general consensus is that Frieze is going downhill while fiac is going uphill,” reports Thea Westreich, a seasoned New York – based art adviser who combed through both fairs. “Im not sure I take that position, but I will definitely say fiac has been improving steadily over the past several years and has become a destination point for serious collectors.”
Less qualified in his praise is the New York dealer David Zwirner, an exhibitor in both London and Paris, “fiac is strengthening as a fair of quality but also as a fair where you can sell a bunch of art,” he says, noting that his booth there attracted Asian, European, and North and South American buyers, including a Mexican collector who purchased Donald Judds Untitled, 1986, for $450,000, and an American who picked up Dan Flavins Untitled I, 1989, for $550,000. As for Frieze, although he made some significant sales – Neo Rauchs 2003 Haus des Lehrerswent to an American for $1.35 million, and Daniel Richters aptly titled London is the place forme, 2011, to the Chinese – Indonesian collector Budi Тек for $350,000 – Zwirner says the fair disappointed some clients. They felt “it was safe and commercial and hard to find something exciting and new. I had some very major collectors tell me they didnt like it, and one even said, Im not going to come back.”The New York dealer Christophe Van de Weghe is another fiac fan. “This was my fifth year at fiac, and it was the best year ever,” he says. “I met people from Russia, from the U.S., a lot of Europeans, and a Lebanese. It was very international.” European collectors bought a 1983 Keith Haringtarp painting for $950,000 and paid $1.5 million for Frank Stellas 1977 Double Concentric Square, for which Van de Weghe had found no takers at the Pavilion of Art ? Design fair in London during Frieze week.
On the other side of the debate, not unexpectedly, is Frieze cofounder Matthew Slotover. “Were incredibly pleased with the fair this year,” he says, citing improvements such as upping stand sizes and, in a bid to enhance the professionals viewing experience, reducing the number of tickets sold to the general public. He also notes the increase in buyers from the Middle and Far East, many of whom maintain second homes in London. And as evidence of Friezes unrivalled status as a showcase for the new, he points to Seouls emerging One and J. Gallery, which sold out its solo show of C – prints by the young Korean artist Jung Lee, and to Londons Hotel Gallery, which found homes in museums for the six editions of Duncan Campbells 2008 film Sigmar.
“I think it was a record Frieze for us,” says Neil Wenman, a director of Hauser ? Wirth. The gallery sold all three casts of Thomas Houseagos bronze Hermaphrodite, 2011, for $425,000 each; Matthew Day Jacksons 2011 Hiroshima – themed relief August 6, 1945for $175,000; and Rashid Johnsons 2011 Clown Hands for $65,000.
Wenman also gives high marks to the French fair, noting that “fiacs great strength is that its an enjoyable experience to go to the Grand Palais and be in that incredible building in the center of Paris.” Indeed, the French fairs exhibitors voice few criticisms, though some express dismay at the pre – opening tour by collectors Francois Pinault and Bernard Arnault that took place while unsuspecting dealers attended a fund – raiser at the Musee dArt Moderne.
The cross – Channel rivalry will surely intensify next October with the debut of Frieze Masters, an auxiliary fair for contemporary art. As the London event encroaches on fiacs territory, both organizations will be pressed to hold on to their tried and true exhibitors and buyers even as they woo new ones.
