FLOOR LAMP CONCRETE BASE 11 BY NACHO CARBONELL
Concrete base, welded texturize metal branches, metal mesh cocoons sprayed with layers of paver pool with pigments, LED lightbulb with Silicone covers. Exhibited by Carpenters Workshop Gallery.
New York is arguably the most important global centre—historically, artistically and commercially—for the field of modern and contemporary art”, says Sofie Scheerlinck, managing director of TEFAF New York. “We are delighted to be part of this dynamic art landscape, offering an unrivalled platform for exhibitors in New York. In turn, the fair offers art lovers, collectors, museum curators and design professionals an exceptionally strong lineup of leading international galleries, and a revelatory art experience in the city.”
Held for the third time, from May 3-7, at the Park Avenue Armory, the Spring edition gathered 93 exhibitors, including 13 new participants such as Kamel Mennour (France), Pace Gallery (United States), and Galerie Thaddaeus Ropac (U.K.), among others. Here are five trends that we identified at this Spring’s event.
AT THE CROSSROADS OF DESIGN AND ART
With beautiful and functional pieces made by creative minds who can be described equally as designers or artists, some galleries promote a dialogue between different disciplines. Founded by French duo Julien Lombrail and Loic Le Gaillard, Carpenters Workshop Gallery is one example. Among the gallery’s most iconic artists and designers are Maarten Baas, Vincenzo De Cotiis, Mathieu Lehanneur and Studio Job, just to name a few. Founded in 1979 in Milan by Nina Yashar, the Nilufar Gallery also took part in the fair, showcasing the Palm floor lamp by Michael Anastassiades and the Atollo table by Massimiliano Locatelli, among other stunning pieces.
INSTALLATION BY N ILUFAR
POLAR BEAR SOFA BY JEAN ROYERE
Wool fabric. Exhibited by Laffanour Galerie Downtown, Paris.
“ WORK” BY YU KO NASAKA."
Synthetic paint, plaster and glue on cotton, mounted on wooden board. Exhibited by Axel Vervoordt.
AN ODE TO WOMEN
Several renowned galleries decided this year to showcase some of the most important and visionary female artists and designers of the 20th and 21st centuries. Hauser & Wirth presented works by Louise Bourgeois (1911-2010), Maria Lassnig (1919-2014) and Alina Szapocznikow (1926-1973), which explored themes related to identity and the body. Galerie Georges-Philippe and Nathalie Vallois exhibited “Tir Avion” by acclaimed French-American artist Niki de Saint Phalle. Axel Vervoordt highlighted the iconic piece “Work” by Japanese avant-garde artist Yuko Nasaka, who joined the Gutai art group in 1963 and rarely exhibits outside her home country. One of the UK’s leading ceramic artists, Kate Malone, was represented by Adrian Sassoon with “A Pair of Striped Magma Vases”, a piece in crystalline-glazed stoneware.
“TIR AVION” BY NIKI DE SAINT PHALLE.
Mixed media, paint, plaster and various objects. Exhibited by Galerie Georges-Philippe and Nathalie Vallois.
“A PAIR OF STR IPED MAGM A VASES” BY KATE MALONE.
Crystalline-glazed stoneware. Exhibited by Adrian Sassoon.
“GITARE SURUNE TABLE” BY JUAN GRIS (1887/1927)
Oil on canvas. Exhibited by Helly Nahmad Gallery.
Pace Gallery exhibited the works of iconic 20th-century artist Jean Dubuffet (19011985, including paintings and sculptures from the 1960s to the 1980s. Organised by the gallery Friedman Benda—a TEFAF first-timer – the exhibition “Wendell Castle: A New Vocabulary” was a tribute to the late (1932-2018) American designer’s sculptural approach to design. Artworks by pioneering modernist Paul Klee (1879-1940)—presented by David Zwirner—and by Spanish cubist painter Juan Gris (1887-1927)— exhibited by Helly Nahmad Gallery—also reminded observers of how these creatives shaped the history of art. Thanks to Bernard Goldberg Fine Arts, visitors (re)discovered the visionary group The Eight (Robert Henri, William J. Glackens, Everett Shinn, Maurice Prendergast, Arthur B. Davies, Ernest Lawson, George Luks and John Sloan) who established one of the most notable movements in American art history.
“HAPPINESS” BY WENDELL CASTLE (1932/2018)
Stained Ash. Exhibited by Friedman Benda.
“SCENE ET SITE” BY JEAN DUBUFFET (1901/1985).
Acrylic on canvas-backed paper (four sections). Work of art by Jean Dubuffet. Exhibited by Pace Gallery.
“RECLAIMED BARRELS” BY TAHER ASAD-BAKHTIARI.
Metal and resin. Exhibited by Hostler Burrows.
“EXPANSION” BY CESAR BALDACCINI.
Resin. Exhibited by Demisch Danant.
FOUR VASES BY MANUFACTURE NATIONALE DE SEVRES.
Glazed and enameled porcelain. Exhibited by Oscar Graf.
Through objects, sculptures and jewellery, artists and designers are experimenting with different materials, from resin, metal and brass to porcelain, glass and precious stones. Born in Iran in 1982, Taher Asad-Bakhtiari explored his heritage with “Reclaimed Barrels” presented by Hostler Burrows: “Cleaned and all spruced up, the finished products are a cross between recycled art, environmental art and upcycle,” he describes. “Each one is unique in style and colour and continues to be multifunctional. Rescued from a fate of total destruction, the barrels tell a story of diversion, barter, overcoming resistance, metamorphosis and recovery. As such, they stand as a testament to Iran’s modern and torturous history: from riches to dust, from shiny new to battered and barely surviving, from frivolity to austerity and then slow re-conversion. [A] subtle reminder… in a city of extremes.”
SIDE CHAIR WITH UNDULATING ARMRESTS BY JOAQUIM TENREIRO.
Ivory wood. Exhibited by R & Company.
LATIN AMERICAN FLAIR
A champion of Latin American art, Leon Tovar Gallery—which represents artists such as Carlos Cruz-Diez, Julio Le Parc and Jesus Rafael Soto—sold three artworks on the opening days of the fair. The three were “Topologia Erotica” by Cuban artitst Zilia Sanchez (b. 1926), “Paper Shape” by another Cuban artist Agustin Fernandez (1928-2006) and “Untitled” by Uruguayan artist Carmelo Arden Quin (1913-2010). These sales underscore the dynamism of the Latin American art market. Meanwhile, Sergio Camargo (1930-1990) for the Gladstone Gallery and Joaquim Tenreiro (1906-1992) for R & Company represented Brazil.
“PAPER SHAPE ” BY AGUSTIN FERNANDEZ.
Exhibited by Leon Tovar Gallery
“UNTITLED # 224” BY SERGIO CAMARGO.
Painted wood. Exhibited by Gladstone Gallery.
“NEW YORK IS ARGUABLY THE MOST IMPORTANT GLOBAL CENTRE—HISTORICALLY, ARTISTICALLY AND COMMERCIALLY—FOR THE FIELD OF MODERN AND CONTEMPORARY ART”
A trip to New York City promises adventure. The fast-paced city is fascinating and vibrates with energy. Hotels, restaurants, museums, art galleries and shops: There is an infinite list of activities, and here are three of our favourites.
THE TIMES SQUARE EDITION
“The golden age of Times Square elicited the feeling that anything was possible,” says hotelier Ian Schrager. “The Times Square Edition is the embodiment of this storied past, resurrected for the present, providing hope for the future.” The hotel—created in partnership with Marriott International—welcomes guests to a long ivory hall with Venetian plastered walls and ceiling. Dark timbers, velvets, leathers, and marbles adorn the interior spaces, which comprise 452 minimalist guestrooms, suites and a penthouse, as well as six dining experiences by Michelin-starred chef and a live performance venue on its seventh floor.
photo NICOLAS KOENIG
Designed by Diller Scofidio + Renfro and Rockwell Group, the 18,500-square-metre arts centre took 11 years to complete. It features a telescoping outer shell on the base that can form a canopy over the plaza, creating an iconic space for large-scale performance. “I see the building as an architecture of infrastructure—all muscle, no fat, and responsive to the ever-changing needs of artists,” says Elizabeth Diller of Diller Scofidio + Renfro. “The Shed was conceived as an adaptable and structural palette that will allow an diverse group of creators to incorporate the building into their work,” adds David Rockwell of Rockwell Group. “It’s an exciting addition to the long lineage of institutions that have kept our city on the cutting edge of the arts. Ultimately, it is a testament to the energy of New York City.”
photo COURTESY OF THE SHED
DI AN DI
Di An Di is a Vietnamese restaurant in Brooklyn that serves modernised version of pho. It is accessible through a discreet entrance that leads to a tropical space with a fresh atmosphere. “The interior is meant to reflect the food and the culture of the restaurant —fresh, bright, and driven by community”, says design studio Huy Bui, who designed the place in collaboration with NY_based interior designer Michael Yarinsky. Plants hanging from the ceiling complement the pastel colour palette. Di An Di is rooted in tradition with a New York twist. Its name refers to a phrase in Vietnamese that friends and families use to say that means, “Let’s go eat”.
photo COURTESY OF DI AN DI
text KARINE MONIE images COURTESY OF TEFAF