Outside of Focus
, Frieze London’s section for young galleries and emerging artists, new media gets relatively little play in 2015. Pilar Corrias
, whose gallery is among a handful to show video, sold most of her solo booth of works by Ken Okiishi
. The works—single screens priced at $35,000 and diptychs at $50,000—pull their source material from ’80s VHS tapes and more recent television series, which play on flat screens swiped with expressive brushstrokes. “The simplest way you can record a gesture is by making a brushstroke,” said Corrias. “Another is through video. But both the brushstroke and the footage don’t convey the reality of the movement. Nothing is adequate.”
Corrias’s early success aside, the majority of work at Frieze this year falls well within the dominant art world trends of the moment: loose and line-driven figuration, ceramics, and remixed readymade sculpture perhaps the most prevalent among them. The fair remains undeniably fresh–faced in the works it puts forward. But it’s also high on pedigree—like London, more a young royal than the rough-necked renegade it once was. On one hand, that appearance could be due to the complacency that the art world’s proliferation of highly curated presentations, new young artists, and recently rediscovered old ones can quickly induce. But there is also a demand-side component that—along with the rising tide of the market that pushes prices for young contemporary ever higher—would indicate that this is a real, rather than perceived, shift.