The Frieze New York art fair (May 5-8), currently ensconced in its large SO-IL designed tent on Randall’s Island, always has a few works on display of special interest for architects and designers. This years fair is not brimming over with such works—but still there are a few. And this year, for me, they were all on wheels.
William Kentridge’s rolling wooden and metal accordion machine labeled TBC turned Marian Goodman’s booth into a dynamic space covered with the South African drawing and textual works. It was also a great—yet still somewhat sad—to see Krzysztof Wodiczko’s 1988-89 Homeless Vehicle Project. A major work by the artists in New York, I first saw it employed at Union Square where there were encampments of some of the estimated 70,000 homeless people in the city that winter. It’s sad to think we still have this enormous problem the city and this rolling homeless shelter is a reminder of all those people that push their homes shopping carts on the streets. Their was also Erwin Wurm’s 2016 corpulent white polyester and acrylic VW micro bus often seen at art fairs. But it’s always an effective comment about the body of both humans and cars.
The highlight of the Frieze art fair wheeled works was a special Frieze project: a remake of Mario Bellini’s Kar-a-sutra created for The Museum of Modern Art’s 1972 New Domestic Landscape show curated by Emilio Ambasz. It’s green 1960s fantasy of a car as a house for a Mediterranean seaside. Re-creator Anthea Hamilton also creates “an inhabitable mobile space meant to foster human creativity, imagination and communication.” It was all so sexy and easy in the 1960s!