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After its Maastricht version attracted greater than 50,000 guests and members from round 250 museums in March, Tefaf New York (11-16 Could) returns to the Park Avenue Armory to kick off the busiest time of 12 months for metropolis’s artwork scene. Smaller in scale than its Dutch sister, which this 12 months boasted round 270 exhibitors presenting an encyclopaedic array of objects, the 91-stand honest skews closely towards fashionable and modern materials in artwork and design.
After initially launching stateside with two annual iterations in New York, the honest eradicated its autumnal version after the pandemic to give attention to spring, when it coincides with the marquee auctions of contemporary and modern artwork at Christie’s, Phillips and Sotheby’s, and gala’s together with Impartial, Nada New York and Frieze York.
Minjung Kim’s Void in Fullness (2003) Photograph courtesy of the artist and Gallery Hyundai
“Exhibiting 7,000 years of artwork, as we do in Maastricht, has been tough to attain by way of round 90 exhibitors,” says Hidde van Seggelen, the chairman of the honest’s govt committee. He provides that the venue’s positioning on the Higher East Facet has been a serious promoting level for taking part galleries. “Most of our sellers think about the New York version as being within the centre of a giant shopper base, whereas Maastricht is a vacation spot honest,” he says.
A selected power of the honest’s New York version is an intergenerational or pan-historical curatorial strategy. Sellers are juxtaposing fashionable and modern items with objects from earlier centuries, drawing out time-worn themes and throughlines. Belgian gallery Axel Vervoordt, for instance, will pair a Bayon-style late-Twelfth century head of a deity from Cambodia with an summary, monolithic work by Anish Kapoor from 2002. Each objects—the sandstone head modelled on Khmer ruler Jayavarman VII and Kapoor’s limestone and pigment work—intention to conjure transcendence by way of stone’s permanence.
“Kapoor succeeds in giving the void a bodily, tangible look, above the division between every part and nothing, masculine and female, the inside and the outside,” says Bert Melkebeek, an artwork historian and archaeologist for the gallery. “It’s this exact same transcendent high quality that can be instantly obvious—though it was made centuries in the past—in regards to the head from the Khmer Empire in Cambodia with the very good high quality, a benign smile and the downcast eyes in whole tranquillity.”
Cross-cultural resonances will probably be a spotlight of Gladstone’s Tefaf stand, too, by way of a show of Robert Rauschenberg’s Thai collection of drawings from 1983, which hint the artist’s travels throughout Thailand in addition to Sri Lanka and Japan. The works incorporate printed supplies from Thailand and Rauschenberg’s personal images of Sri Lanka over gold-edged Japanese dedication boards. Gladstone, which not too long ago introduced its illustration of Rauschenberg’s property, will concurrently host an exhibition of his Spreads and Scales collection at its flagship area on West twenty first Road.
Sans titre (1965) by Shirley Jaffe Courtesy of the Shirley Jaffe property and Galerie Nathalie Obadia
One other Chelsea heavyweight, Tempo, goals to make a splash on the honest with a solo stand dedicated to Louise Nevelson. Moreover quintessential examples of her black-washed monochromatic wood sculptures, the gallery will present 11 mixed-media collages created between the Nineteen Fifties and 80s that can shed gentle onto a much less acquainted side of Nevelson’s follow.
The honest’s prevalence of stands dedicated to feminine artists (and organised by feminine sellers) is one other of Tefaf’s strengths, in line with Van Seggelen. First-time exhibitor Nathalie Obadia will show summary work by Shirley Jaffe; the Paris- and Brussels-based gallery’s well timed show of the American artist’s electrical gestures in color coincides with Kunstmuseum Basel’s present solo exhibition dedicated to the late abstractionist. Seoul’s Gallery Hyundai, in the meantime, will spotlight a really totally different strategy to summary portray: Minjung Kim’s textured compositions over mulberry hanji paper that carries ghostly traces of a burn from a candle.
Tefaf New York, 12-16 Could (preview on 11 Could), Park Avenue Armory
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