Located at the University of Westminster, the Sunday Art Fair is a decidedly mellow counterpoint to the expansive aisles and big-ticket sales of the proceedings at Regent’s Park. Capped at just 30 international galleries exhibiting solo projects or curated group presentations, the exhibition welcomes galleries dedicated to emerging artists, new concepts and new contexts for showing work.
The fair, now in its 9th year, has built a reputation on this focus and the strong curatorial vision that has made its continued mission possible. Organized by a shifting group of galleries over the years, first Tulips and Roses, Croy Nielson and Limoncello, then Rob Tufnell and Lüttgenmeijer, and now Supplement, its changing perspectives and investment in fresh voices has benefitted from the changing leadership, with a strong and focused presentation that manages to renew itself each year.
This year was no different, with a range of works and galleries diving into conceptually rich and unique territory. Moving from photographic experimentations to more abstract and unique approaches to painting and beyond, the fair once again showed why its reputation as Frieze’s adventurous cousin is so well-earned. At L21, one could peruse Nuria Fuster’s intriguing subversions of domestic objects and forms, while a turn towards more unconventional objects and materials that was echoed at Bombon Projects, where Spanish artist Josep Maynou was showing a series of strangely evocative rug designs, each emblazoned with various phrases and images.
Oren Pinhassi, Towel Snake (2018) Ribot Gallery
New York’s 315 Gallery was invested in a similar style, bringing work by artist Quay Quinn Wolf that relied on sheets of textile and subtle marks to create unique visual effects. Textiles seemed particularly popular this year, with many galleries showcasing work that relied on its varied modes of production and presentation. Another highlight of the fair, Steve Turner LA’s showing of work by artist Diedrick Brackens, mixed together the artist’s impressive use of the woven fabric in conversation with icons and imagery of black identity.
Throughout, the sense of exploration was palpable, and the easygoing atmosphere of the event welcomed a distinctly casual set of interactions between visitors, gallerists and artists. If London sits at the center of the art world’s attention this week, Sunday seems to make a convincing argument that this position need not be intimidating. Rather, in the spotlight of Frieze Week, the opportunity to learn and grow can take a prime position.
The fair closes Sunday, October 7th.
José Diaz, Evento n. 1 (2018) at Evento Gallery
— D. Creahan
Sunday Art Fair [Exhibition Site]