“(…) The art fair is a subject of great interest to me. Having worked for a gallery at numerous fairs both in the U.K. and abroad for many years, I have a good understanding of a dealer’s approach. Over the last decade or so the importance, scale, number and profile of art fairs has increased considerably. Of course the vast majority cater for galleries as exhibitors, rather than independent artists, and as such they are essentially high end trade fairs. Running a gallery is a costly pursuit. Above all an art fair represents an opportunity, often the best opportunity, for a dealer to make sales and in the majority of cases more people will visit one’s art fair stand in a week than would ordinarily pass through a permanent premises over the course of a couple of months (assuming one even has such a space). What’s more, many visitors to a fair will be very much open to the idea of making a purchase. The chance to make a relatively high number of sales in a short space of time cannot be ignored by the gallerist, and this is entirely understandable, particularly considering that most art fairs are eye wateringly expensive to participate in (stand fees alone can often reach tens of thousands of pounds, plus there’s shipping, staffing and so on). Thus, any gallery wishing to make good business decisions will approach an art fair with sales front and centre.
As an artist, one must look at this with pragmatism. Generally speaking the art fair does not offer the greatest curatorial value around. By its nature it cannot present a broad and even survey of artists working today and in terms of artists exhibited it cannot be an inclusive, meritocratic event. What it can be is a good gauge of the art that is selling at any one time. We know galleries will hang their stands to sell, and this is understood. For the vast majority of artists, ever seeing their work appear at an art fair is highly unlikely. First they would need to achieve gallery representation, and then they would need to be seen as one of that gallery’s prime commercial options. Of course only a tiny percentage of artists manage this, even with the significant growth of the art fair in recent years. I certainly have no expectation that my work might make its way into an an art fair via this, the established route. Furthermore, if it did, knowing what I do about the way galleries use fairs, I would consider it of little value beyond the commercial. For most artists I would suggest that the art fair represents very well all that is exclusive, inaccessible and unattainable about the fiercely commerce driven art world.
However there are now a small number of fairly young fairs that focus on independent artists as exhibitors, rather than galleries. This is of course a wonderful development for artists, even if the general structure is basically the same as those events that cater for galleries. Costs are still relatively high, so sales remain the main aim. This is where ArtRooms differs. ArtRooms offer exhibition space to selected artists for no fee, and for me this changes the game entirely. Such a gesture of support removes the necessity for exhibitors to consider the commercial side of their work at all if they so choose. Artists have the liberty to work with creative freedom and present something at an art fair that goes entirely against the rigidly prescribed commercial angle. ArtRooms have adopted what I understand to be an unprecedented approach to supporting artists – taking the most overtly commercial structure the artworld has thus far devised and turning it on its head for the significant benefit of the artists. They offer a very real route to exhibiting at an art fair without the traditionally associated financial risk and, by extension, the restriction on what can reasonably be exhibited. ArtRooms is a unique opportunity for artists to approach their work free of commercial burden, but still achieve the significant exposure that is unique to the art fair model. It is true that they charge a commission on sales, but even this is significantly lower than a traditional gallery fee and is of course only payable if the artist themselves makes a sale. Overall it’s a deal that, on a one to one basis, makes it practically impossible for the exhibitor to come out worse off than the fair. That’s pretty much unheard of in my book.
The potential outcome is significant. Aside from the obvious benefit to the exhibiting artists, the fair as a whole could well become one of the best examples of its type in terms of pure creativity. Artists have the opportunity to present work raw and uncensored. Work which has not been presented through the filter of gallery acceptability or given the commercial gloss that makes it a ‘marketable asset’. One can go to any number of art fairs and wind up seeing the same work, presented the same way, hung on the same temporary contract matt white partition walls. Their homogeneous nature is such that a fair in Hong Kong could just as well be a fair in New York or a fair in Basel in terms of content. However ArtRooms has the makings of something altogether different. It is accessible, fosters true creativity at source, and offers its visitors insights into the way an artist works like no other event of its kind.
So, these are my own thoughts on he subject, and why I believe that among the many, many fairs out there, ArtRooms deserves particular attention (…).
Source: Youngspace x Artrooms, by Tom Wilmott. You can read the full post here: tomwilmott.co.uk
Image on Top: Detail of Tom Wilmott’s painting At least things can’t get any worse. 1.2 I. 2014. Acrylic & emulsion on canvas. 18.0cm diameter.
Mariana Sampaio, Artrooms 2017 edition’s portuguese selected artist and winner of the public vote, has recently opened her Mariana Sampaio Studio in mid-July, which is one of the projects the artist has been working on since September last year. Following the development of her practice in ceramics for the past two years, Mariana found it the most challenging and versatile material she has ever worked with. This discovery together with living in one of the Portuguese cities with the biggest ceramics tradition made her prompt to open her own ceramics and mixed media studio.
The studio is located in Caldas da Rainha, Portugal, in a council building that works as a hub for start-ups, being one of the many initiatives created to support young artists and more specifically new ceramicists in the region. Considering the region is thriving to be nominated the city of arts by UNESCO until 2020, Caldas da Rainha’s goal is to support emerging artists by facilitating them studio spaces where they can develop their practice, host exhibitions and be exposed to the market as residence artists. Mariana Sampaio is one of those artists: after working on a business plan and submitting her proposal, her project has been approved. She has now the support of Caldas da Rainha’s council and AIRO (Association of Business in the West Region), which allowed her to set up her studio with all the workshop facilities required to produce her work. The artist is also provided with some consulting hours on areas she doesn’t master, such as economy, finance and marketing, enabling her to better manage her business as an entrepreneur artist.
“To work in a hub for start-ups is definitely a plus, as there are any different types of company in the same building – contemporary jewellery, an industry of craft beer, handicraft, the development of cyber-protecting systems or an online market for fruits and vegetables. Working together in the same space allows us to mutually assist one another, sharing our contacts and promoting networking sessions among all of us.”
The studio is 52m2 and it combines all the facilities required for each step of the ceramic’s making process, from moulding plaster to sculpting the ceramic, including a glazing and painting area, a small oven that supports 80 litres, a showroom and a small office. Despite this, Mariana Sampaio Studio is a provisional space until 2020, when it will be moved to another space in the historial centre of the city, allowing the artist to have a wider working space, an area to host workshops and a gallery space with a shop open to the public.
“My goal will be not only to promote my own work but also to promote the work of other guest artists who are invited to do artistic residencies in the city.” she says.
Mariana Sampaio is now working on a project linked to her traditional roots – seaming and embroidery craftwork developed by the artist’s grandmothers, aunts and mother. Taking her female relatives’ work as inspiration, Mariana has been developing sculptures that present themselves as hybrid objects between the traditional arts & crafts world and the contemporary art world.
“At this point, I find myself in an introspective stage of production, and I have decided to put national and international exhibitions on hold for a little while.” Despite that, some of the artist’s ceramic pieces will be on show at one of the big events promoted by Caldas da Rainha – Feira dos Frutos e da Cerâmica (Fruits and Ceramics Fair). From 18th to 27th August, D. Carlos I park, the green heart of the city, will open its doors to several exhibitions, cultural activities, the display of fruity products and live music, inviting the public to see what the city has best regarding culture and farming.
by Unab Sumbal
The Artrooms Fair is deligted to announce that as one of the Highlights of the 2018 Edition, we will be hosting Focus On: Pakistan. Curated by Zara Sajid at MyArtWorld, a platform for established and emerging artists, Focus On: Pakistan will be a group exhibition showcasing the latest artistic movements in the sub-continent.
Focus On: Pakistan has ignited a spark of enthusiasm amongst all candidates since day one, seeing over hundred applications in the first two weeks of the open call. Situated in South-Asia, Pakistan, officially known as the Islamic Republic of Pakistan, is the sixth most populous country in the world and has several diverse ethnic groups, which consequentially results in an eclectic mix of contemporary as well as traditional art being poured in the form of oil & acrylic paintings on canvas & wood, digital art, mixed media, ceramic sculptures, miniature paintings, print making and photography works, bringing together an interesting combination of mediums and concepts.
In the words of the curator Zara Sajid: “The assemblage of art is one of the most complex yet invigorating experiences. By virtue of being a mixed media artist myself, I envision art to break all norms and boundaries. The key element of the art prevalent in the sub-continent is its richness and attention to detail. Contemporary Pakistani artists have, however, dabbled in modernist art techniques and explored various mediums very successfully today. This country has produced maestros of art in their respective realms. My effort is to bring all such artists on to the same bandwagon as emerging artists to showcase their work on a global platform after a thorough process of screening and selection. “
For more information about MyArtWorld, www.myartworld.org.
Untitled Bounty Hunter
by Tahira Noreen by Omar Gilani
The Sunny Art Prize has emerged from a desire to explore how contemporary art is shaped by our hyper-connected, protean world. This curiosity extends to the way in which 21st-century art interacts with tradition. This year’s Sunny Art Prize will, therefore, showcase pieces of fine art that engage with past artistic tradition in contemporary terms.
– If you have not applied yet, register on ArtistsInfo.co.uk for the special fee of £39.99 (instead of £59.99) and get a free application for the Artrooms Fair. When registering on ArtistsInfo.co.uk use the CODE: ARTROOMSENTRY ( *)
– If you have already applied to the Artrooms Fair and want to join ArtistsInfo, please use CODE ARTROOMS20 to get £ 20 off ( *)
www.artistsinfo.co.uk – Global Artist Guide
Finalist in the Chamber of Commerce Business Growth Award 2015 & 2016 – Winner of the Business & Community Awards Business of The Year 2014 – Scoot Headline Award Winner 2014 – BLB Best Online Art Gallery Award Winner 2012
Matt Greenwood (Artrooms 2017 Selected Artist) will be exhibiting for his Degree Show at Free Range this Thursday (23 June) at The Old Truman Brewery in London.
Having recently graduated from Falmouth University, he will be showing his most recent series “Field Work” alongside his University cohort in which they have formed a collective under the name BRIK – for the event.
Private view starts at 6pm onwards.
Hailing from Falmouth University, cast out on the south shores of Cornwall, BRIK consists of a grouping of 64 young photographers all standing in the same position, looking in different directions. With work that moves across disciplines, BRIK explores all corners of photography, while still holding steadfast at its centre the medium’s unique power, beauty and controversy. Feet firmly placed on the ground and a long neck putting our heads in the clouds, our work is both a creation and an observation, forming new and neoteric ways of seeing and representing the world around us. We see the relationship between ourselves and our surroundings completely involuntarily, seeping into our unconscious and affecting our judgment, steadily evolving.
The Old Truman Brewery
91 Brick Lane
The show will run from 23rd June to 26th June 2017, 10:00am- 4:00pm.
Private View is Thursday 22nd June 2017, 6:00pm- 10:00pm.
“Collection of a Magpie”
A magpie does not steal, it collects
It takes small shiny objects and bring them into the nest
Wedged between feathers, twigs and dry leaves, it creates a small collection of enchanting failures
A magpie embodies the spirit of the collector
In its nest, like within a collection, objects replace desires
To arrange, classify, select, and sort, just like memory exercises
A space for reconstruction
“Collection of a Magpie” by Alice Padovani
A magpie embodies the spirit of the collector
Le Dame Art Gallery are delighted to present “Collection of a Magpie”, the first UK Solo Show of Italian artist Alice Padovani.
Born in 1979 in Italy, where she still lives and works, she graduated at the University of Bologna with a Master’s Degree in Philosophy in 2007 and a Master’s Degree in Visual Arts in 2015. Preferring drawings, installations and performances, as a visual artist she has won several awards such as the Art Rounds – Celeste Prize in 2016, the Who art you? Press Award Winner – 4th Edition (Italy) in 2015 and the Young Art Pitching Prize, Art&Museum International Exhibition Xchange in Turin (Italy) in 2014.
In 2017 she was selected for the Artrooms Fair in London and due to the incredible success with Private and Public Collections, the directors Cristina Cellini Antonini and Chiara Canal invited her to join the Portfolio of Le Dame Art Gallery.
“Alice is the kind of artist every gallery would like to work with. Her artistic research generates impactful works worth a Museum exhibition, such as those from the “Collection of a Magpie” series. Scarab beetles and little tiny objects, or fragments are assembled together to create precious nests made in gold, or emerald or simply black and white. The outcome is just exquisite, a must-have collection”, say Cristina and Chiara.
Alice’s constant research and unconventional background (as a former theatre actor and director) lead her to explore different media and techniques. Obsessed with death and time, art is a personal diary to overcome loss and grief.
Collection of a Magpie by Alice Padovani
Private View: 7 June from 6pm to 8pm
Public Opening: 8 June – 31 August
Monday to Friday from 3pm to 8pm, Saturday from 2pm to 6pm
Le Dame Art Gallery at the Meliá White House Hotel, Albany St, Regent’s Park, London, NW1 3UP
About Le Dame Art Gallery:
Le Dame Art Gallery has a reputation for scouting and representing the finest up-and-coming artists, whose works have been commissioned or acquired by public, corporate and private collections. Le Dame Art Gallery is based at the Meliá White House, a 4-star deluxe hotel in central London, where the gallery has been curating the MWH Art Collection (launched in 2016) and where they also host ARTROOMS – International Contemporary Art Fair, not just a fair but a laboratory for exploration that has already become a focal point for galleries and collectors looking to uncover talented artists. With approx 2000 sq meters exhibition spaces from the Meliá White House, Le Dame Art Gallery is proud to launch Le Dame Art Hub running two programs for international & UK based artists.
Open Call Artrooms 2018
10 May 2017
Held in high esteem from participating artists and attendees, and with record-breaking sales on its third edition, Artrooms team is currently working towards its 4th edition and eagerly awaiting for the artists applications. For Founder Cristina Cellini Antonini: “Artrooms’ aim is to facilitate the quest for galleries and collectors to find tomorrow’s next big star”. Nonetheless, the fair is already fulfilling its purpose, in its last edition artists were selected by several galleries and acquired by important corporate collections.
Artrooms is the only fair in the world offering free exhibition space to independent artists looking to emerge into the London Art Market and eager to be scouted by art galleries. If you are an artist and wish to be part of Artrooms, we invite you to apply to the 2018 edition. Applications are now open!
The deadline to apply for the 2018 edition is end of June 2017.
“An Open Letter to the Art Collector”
We also invite artists to join the “An Open Letter to the Art Collector” project which explores the relationship between the artist and art collectors. The project started on the Artrooms 2017 edition and it is a series of experiments, installations and essays investigating the complexity of the relationship between the artist and the collector. Artists around the world are invited to write a letter to express their ideas, feelings, experiences and maybe expectations towards the imaginary of the collector, the letter can be anything that the artist establish as one, there are no limits. The most interesting letters will be selected for an installation and/or other publication. If you are interested in being part of the project, please send us your kind of letter (hand-written/ hand-done or creatively-done) until the 15 of September 2017 to Artrooms Fair Ltd c/o Collective, 110 Hampstead Rd, London NW1 2LS.
“Call for Curators”
On the other hand, the “Call for Curators” is the leading light for Artrooms’ next edition. It is a fantastic opportunity for 8 emerging curators under the age of 30 to work with Artrooms. We are looking for curators that have the ability to develop a site-responsive project but also capable of presenting a proposal that is conceptually rigorous and focus on projects or innovative themes that are engaging and relevant to the concept of Artrooms. In addition to be working with us during the fair, our chosen curators will also take their places on our prestigious Selection Committee and write an essay for the Artrooms 2018 catalogue. Closing date for applications is 15 June 2017.
For receiving more information about applying to Artrooms 2018 edition, the Call for Curators and the Artrooms “An Open Letter to the Art Collector” project, email email@example.com and follow @artroomslondon on Facebook, Twitter and Instagram.
We are thrilled to announce that Artrooms 2017 artists are stepping up and leaving a mark in the international art market.
Artists Zoi Pappa and Maria Giovanna Morelli (aka Collettivo Instabile) have been selected among the 125 artists that will be exhibiting and competing for The Laguna Prize at the Arsenale in Venice this March 2017. The Arte Laguna Prize is an internationally renowned art award that, in the same spirit as Artrooms Art Fair, aims to enhance the contemporary art world.
Also, Felix Baudenbacher’s show at the Exhibitionist Hotel will open on the 14th of March, while artist Ilsa Brittain has been selected by curator Monica Colussi for the “Kanojo”show at Fiat Chrysler Automobiles Motor Village UK. To learn more about the artists, visit www.fbaud.com and www.ilsabrittain.com .
For more news about Artrooms artists, and about submitting an application for Artrooms 2018, please follow @artroomslondon on Facebook, Twitter and Instagram.