The Independent Show (West 22nd Street) A photo journal
ABANDON HOPE ALL YE WHO ENTER
The neon sign over the door by Paris-based collective Claire Fontaine suggests a Dante-esque Divine Comedy awaits.
“Part consortium, part collective,” is what Independent art fair called itself, as launched by gallerists Elizabeth Dee (X Initiative, N.Y.) and Darren Flook (Hotel, London). Making use of the former Dia Art Foundation’s handsome West 22nd Street building, the free-of-charge venue offered artist projects, public programs and commercial galleries showing artworks without the defining “walls” of traditional booths.
SMELL A RAT?
Packed in for Thursday’s party-atmosphere opening, viewers were met with a 12-foot-high inflatable rat muttering recorded aphorisms such as: “Only one thing counts in this life/Get them to sign on the line that is dotted.” Responses seemed affable.
Murray Moss with Michal Fronek and Jan Nemecek’s, Illuminated Crucifix, 2010, and Thomas Struth’s, Stanze di Raffaelo II, Rome, 1992, behind.
SoHo design store Moss paired with Westreich-Wagner art advisors, in an attempt to create 12 “dialogues” between disparate objects that were “never intended to be together,” in Murray Moss’s words. The results should be “subjective,” he explained, “like the circumstances of our lives.”
CALLING A GHOST TO THE TABLE
DRESSED FOR SUCCESS
“She knits a sweater about political or current event, then wears it around,” explained Nelson Hallonquist, of the Florida gallery. Overheard viewer comment: “It’s like shopping in a mall with small stores.”
THE NEW PAGANISM
DON’T FENCE ME IN
ART CRITICISM FOR SALE
CALLING DR. STRANGELOVE
Known for her motion pictures, Sussman here presents an exact replica of Russian Yuri Gagarin’s office, the first man in space.
BACK TO THE FUTURE
Artists Space promotes its screening of Make It New John, a documentary about carmaker John DeLorean by Glasgow-based filmmaker Duncan Campbell.
AN OFFER YOU CAN’T REFUSE
Move over Olafur Eliasson and Anish Kapoor. Danish artist Hein did more with less, as his optical contraption beguiled audiences with its dislocation of gravitational reality.
FLASH OF HISTORY
One couldn’t help but feel the presence of the Dia Art Foundation and its illustrious exhibition history in the building’s earlier incarnation—before there was such a thing as The Chelsea Gallery District, or, for that matter, a contemporary art world driven so ruthlessly by art fair culture.