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Contact us today to get started on finding the pendant light that was designed to shine bright in your space!“Frieze just appears in Regents Park for a brief period, and that’s quite unique anywhere for a platform on that scale,” she said. “It’s nice that so many have used that idea of its temporality.” Asked why it was important for Frieze, a commercial art fair, to devote money and effort to projects that bring no financial reward, Ms. Lees said the idea of commissioning new work had always been important to Frieze. She said it was not company policy to share information about the budget allocated to the Projects.“It’s about focusing on the artists as the most important part of the art world, whether commercial or experimental,” she said. “There is a level of risk and ambition in the projects which is at the heart of Frieze.”Three of the participating artists and the four-member collective AYR recently explained the thinking behind their projects, and what might happen when visitors to the fair encounter them.

When you are in a place like Regent’s Park, different elements converge and form different ideas about nature — you have garden circuit, a formal garden, an enclosure, a pastoral field, each narrating nature differently. And Frieze, in its tent, is a kind of mini-narrative within that larger park narrative.I started thinking about our bodies as one kind of configuration that can access one set of visual and auditory frequencies. Other animals absorb these frequencies differently, and I wondered what the park and the fair would sound like to animals who lived there.I had the idea of setting up a scale model of the fair, with a sound and lighting system that would evoke how different animals hear and see. We took the full dimensions of the tent and kept scaling it down; we’ve ended up with a tent around 6 feet tall and 30 feet long [1.83 meters tall and 9.14 meters long], and we’ve reproduced the fair layout as exactly as possible, down to the material of the tent.I started off with a long list of animals that live in the park but ended up with five: newt, fox, robin, stickleback and mouse.

One will be represented on each day of the fair. I created a playlist that runs for the whole day, and each day the sound and lighting are filtered so that it’s as if the animal was experiencing it. Newts hear through their bones, so we had to record everything underwater to get that effect.Sometimes vision is different, too. A fox, for example, sees within a blue-green spectrum, so the light on that day will be very different to what you see outside. I was thinking about Frieze as a place where we go to experience representation. But our perceptions are shaped by what we see and hear, like any animal. This is an attempt to experiment with that perception in a playful way. Most of my work has been in theater or opera, and in experimental performance work, as a designer, and I like to have a space in mind. The concept of being a fine artist, making just what I like, I find a bit difficult. I like problem solving. So I wanted to learn about the tent, how it worked, and it quickly became apparent that I wanted to do something within the structure itself.

I decided I’d like to do something underground. I’ve been working for some years now with the element of wind. I love the idea of a sensory trigger that provokes an idea, thought or memory. You have to take into account what you can actually do in a public space, and what kinds of demands you can make on members of the public. It’s a big space and pretty dark, too, but the idea is to stimulate your senses, not to make you frightened.When you see work en masse like you do at an art fair, it’s inevitable that it’s a bit flattened and diminished. So this is a bit different. It deals with real things; It’s an antidote to the slightly sterile nature of the corporate art world and the overlighted art up above ground.I’m interested in provoking a new experience in the mind of the viewer. For that to happen, it helps to knock people off their center a bit. There is no right interpretation, but I hope people will feel differently when they come out.These days, people either do live, performative work or create a mise en scène that is empty.

When Nicola asked me to something for Frieze, I thought I’d like to create something that includes both elements, but where one thing isn’t dependent on the other. I was interested in the preclassical Greek period, the deep past as a form of science fiction. We don’t know that much about it and have to try to think ourselves into it.I thought about figures that have survived in the imagination until today, and became interested in the Greek god Pan. He has been worshipped for 5,000 years and still echoes in our culture — think of the film “Pan’s Labyrinth,” and ideas about satyrs and nature. Although he was worshiped as a god, he is not powerful, not bigger than humans. He is half-goat, animalistic, and inhabits the same world.We have had a long period of worshipping a deity, in various religions, who is higher, more perfect, unknowable. There was something intriguing to me about the worship of someone who was not that. I decided to make a space that would be like a place where Pan might have been worshipped.

There will be a philosopher, a choreographer, a singer and children, who I thought it was important to have there. At times they will all overlap.The way I’ve furnished it is to use what was to hand. We are in the middle of the park, and I found a tree that was being cut down, from which we will create seating elements and a bookshelf.There are a lot of different things that might happen in the space. The children will learn about Pan and develop ideas with the artists; we are trying to make an oral portrait of this figure from the past. I hope it will be experiential and discursive, a space of imagination.(Fabrizio Ballabio, Italian, 29; Alessandro Bava, Italian, 27; Luis Ortega Govela, Mexican, 26; Octave Perrault, French, 27)We are interested in the home and the symbology of the domestic space, and what happens when you put the art object in different environments. For Frieze, we thought about the technology of privacy, and how this is changing the domestic environment. We put six bedrooms in the middle of the fair, which wasn’t easy because it’s hard to find space at Frieze!

We are all architects — we met when we were studying at the Architectural Association in London — so we used our architectural knowledge to milk a long, narrow space out of the place where the tent is joined together, which usually you don’t see.The bedrooms are exactly the same, what would be called an enfilade in Baroque architectural typology. It’s almost like a lounge area, like you would find in corporate offices, where they use the language of domestic architecture in a work setting to create a sense of coziness. We wanted to design an experience that was dealing with comfort and non-comfort; this is a commercial fair, a place of work, and any relation there is potentially a work relation, but here you have a domestic setting linked to intimacy and privacy.We use smart technology in the bedrooms, but in a frivolous way; mattresses from a startup company that promise the most comfortable product to sleep on; a chandelier with light bulbs linked to a data feed that generates different colors.