frieze sanat fuarı.londra

Lokal ve uluslararası piyasadaki değişimin hızını takip etmekte zorlanmaktayım. Aşağıdaki yazı (Middle Eastern Collectors Make their Mark) the art newspaper'in frieze art fair sayılarından birinde yayımlandı.

the art newspaper, frieze art fair saturday october 22, 2005

LONDON. When it comes to the Arab world, it’s the big hitters of the Islamic Art market—Nasser David Khalili, Sheikh Nasser Al Sabah of Kuwait and Qatar’s now- disgraced Sheikh Saud Al Thani—who make the headlines. But there are many more collectors in the Middle East with cash, who are rarely seen investing in the more outré world of contemporary art. This could be about to change. This year Frieze only includes one gallery from the region: Istanbul’s Galerist (http://galerist.com.tr/). Following his gallery’s selection, director Murat Pilevneli was asked to recommend Turkish buyers, who were duly issued with invitations and are being taken on special tours by the fair’s organisers. “This is important psychologically for Turkish buyers,” says Pilevneli. “There are around five serious collectors buying internationally, but it’ll grow to 15 to 20 in the next few years. International exposure for Turkish artists, and collectors seeing international quality at fairs, is beginning to force the market up.” Works on paper by London (and Istanbul) darling Haluk Akakce are selling well at Frieze and there is major interest in Hussein Chalayan’s work, says Pilevneli.

Istanbul Biennial (http://www.iksv.org/bienal/) director Vasif Kortun, wearing his other hat as director of the city’s Platform Garanti Contemporary Art Center (http://www.platform.garanti.com.tr), is in London to visit the fair, having been invited to contribute to the artists’ programme next year.

Not that the Europe- oriented Turks are the only Middle Easterners in evidence. Iran’s art scene has been buoyed by the announcement of collector Ebrahim Melamed’s 5,000 square-metre Honart museum, due to open in 2008. His extensive collection includes works by Anish Kapoor, Shirin Neshat, Julian Opie and William Kentridge, among others. The board of
directors includes Amir Shariat, the London-based Iranian collector seen doing the rounds yesterday at Frieze.

A typically enthusiastic Melamed told The Art Newspaper that he had just purchased a set of three works by Monica Bonvicini from Max Wigram Gallery for around €100,000 ($120,000).

Melamed’s venture is all the more significant in a region that boasts few public spaces with active collecting policies. Hoor Al Qasimi, director of the Sharjah Biennial, is at Frieze to expand her collection, which she keeps on public display at the Sharjah Art Museum.

Antonia Carver
The writer is an editor of Bidoun, the Middle Eastern art and cultural quarterly