Contemporary Istanbul, in its 10th year, reported very strong visitor numbers (over 86,000) and sales of 63% on a total price volume of USD 63 million. The sun shone. People could forget the war in neighboring Syria, recent bombing in Taksim Square, refugees, Euro instability and the shocking terrorist crimes committed in Paris last Friday.
To the unobservant, Contemporary Istanbul is a riddle. An incautious stroll through the fair reveals all sorts of works better left hidden. Presentation is not as refined as Basel, frieze, or even Art Brussels, the fair itself winding through the subterranean halls of the convention center with their sometimes crepuscular lighting.
Contemporary Istanbul succeeds though because it has the key elements any art fair needs: a network of collectors, local political support, strong footfall and solid sales. It also takes great care of its VIP guests. The notion that the same team behind Art HK, Art13, etc., could come along with “Art International” and eat CI’s lunch was extremely naive. However, it has provided impetus for Contemporary Istanbul to up its game.
The other advantage that CI has is its founder, Ali Gurelli—gregarious, charming, competitive, tireless and with an iron determination. He has attracted noted international galleries such as König Galerie (Berlin) and Galerie Lelong (Paris). And now Gurelli has announced a new fair for emerging galleries, called STEP, to be launched in 2016.
The special program continues to develop.Plugin, the exhibition for new media is in its third year (and was the best presentation). There are also special geographic focus sections. Last year it was China. This year it was Iran.
The collectors are still overwhelmingly local and this was reflected in sales. Most galleries I spoke with were happy, though with a few newcomers somewhat confused. Can Yavuz, owner of Yavuz Gallery in Singapore; at CI for the third time, happily commented that sales were always reliable.
Essentially CI offers a more neutral alternative to Art Dubai—witness the very strong program for Tehran galleries (the subject of another article coming shortly). But there is still room for improvement.
Here is what I would like to see change. There needs to be better booth design—lighting and walls. This is important because it reflects directly in the prices that can be achieved (it comes down to customer comfort and merchandise glamour). Secondly there needs to be an official or unofficial satellite fair, close by, curated and respected. (There simply must be somewhere to gently send less-strong-galleries.) Finally, it needs more official side-programs. Plugin was great, raising the question why more such shows are not organised. It sounds like a lot to fix but actually it isn’t much at all. The important stuff CI already gets right. This may not appeal to snobs and critics. It does not have to.
Turkey
Serpil Yeter at ART350 Gallery, Istanbul
Server Demirtas and mechanized climbing babies at Bozlu Art Project, Istanbul
International: Berlin, Paris, Switzerland
Markus Lüpertz at Galerie Lelong
Noël Dolla at Galerie Bernard Ceysson—extraordinary, light, beautiful works.
Jeppe Hein at König Gallery
China & East Asia
Movana Chen with her knitted shirts of shredded magazines, at Australia China Art Foundation (ACAF), Shanghai
Lexïng Zhang of Art Lexïng, Miami, with Fu Xiaodong, founder of Space Station, Beijing
Li Jin at Dubner Moderne, Lausanne
Mit Jai Inn at Yavuz Gallery
“Florets”, a collection of vaginas out of baby jumpers, by Filipino artists Isabel and Alfredo Aquilizan, at Yavuz Gallery, Singapore.
Plugin: new media
Plugin, the new-media section of Contemporary Istanbu, returned for the second year. here Miao Xiaochun at Australia China Art Foundation (ACAF), Shanghai
Atolye, Istanbul at Contemporary Istanbul’s Plugin new media exhibition.
Art Lexïng, Miami
Also at Plugin, which this year cooperated with gamers, was an interactive portrait installation at BUG Istanbul
Also at Plugin, Deniz Derbent