This website places cookies on your computer to improve your experience. By continuing to browse the site, you are agreeing to our use of cookies. For more details, see our cookie policy.
Back in London it was a hive of activity. Our triple opening at Zabludowicz Collection was truly awesome.
Gabriele Beveridge had achieved a lovely and quiet poetical installation for Invites.
'Infinite City' is a wonderfully curated show instigated by Jens Hoffman and Lizzie.
However, the highlight and in great contrast to the serenity of Gabriele's work was the organized chaos of Trisha Baga. The installation is just brilliant and one of our most consuming and intense installations so far at 176. Trisha is such a prolific artist but it looked like it left her rather exhausted.
Poor girl. Hannah Perry and myself had to put her to rest for a while in the cupboard until her opening in the evening.
Later in the week I had time to head to Timothy Taylor Gallery and admire the work of Jessica Jackson Hutchins.
Also caught the weird and monolithic architectural work of Liu Wei at White Cube.
Art 14 was another surprise with so much entertaining variety on show. Really loved the show stopper Russian collaborative Recycle at Triumph Gallery most of all.
Ben Turnbull’s 'Pez-Dispenser Presidents' was rather interesting.
All Visual Arts were showing the exquisite boxes of deceased artist Charles Matton. Its the most delicate and intriguing work.
At Diana Lowenstein Gallery the Michael Loveland 'Fast Forward' caught my eye.
As did ‘Azonto’ by Romuald Hazoumè.
The best stand of all was of course the Zabludowicz Collection with all proceeds going towards the artists. Anything extra then went towards our educational projects. Andy Holden’s sticker boards were an absolute steal and sold out in, surprise surprise, the first five minutes.
In tandem with Art 14, City Private Banking had set up a conversation of Private Museums with some very interesting museums taking part including the Rubell Family Collection. It was certainly an eye opener for me with so many established collections and foundations involved but also many different collections without museums and museums without collections.
