Richard Prince presented a unique installation intended to drive a critical-celebratory wedge into the art of commerce and become the ultimate vehicle for the combined fantasies of upward and lateral mobility. Road to nowhere or stairway to heaven, Prince’s restless invocation of travel is equal parts pulp fiction sculpture and assembly-line product.
Elín Hansdóttir presented a light installation that transformed the entrance to the fair. The customary neutral white light of presentation was broken into its spectral elements and the entrance passage lent the form of a modern day Plato’s cave.
Kris Martin engaged in an act of premonition and commemoration that engaged the entire constituency of the fair. Unspecified in its address, it called the fair’s audience to attention for a moment of reflection, during which time the wheels of commerce were momentarily stilled.
Gianni Motti examines institutions of authority and issues of security both perceived and real. Through a performative intervention he aimed to convey a humanist’s call to maintain inner peace in times of great national and personal insecurity.
Lara Favaretto used the theatre of the fair itself to give concrete form to an empty or unfulfilled dream. Ceremony is used to create a stage of expectation even as we are aware that the main character is missing. The intervention that marked the end of each day signals an intermission in an extended theatrical production.
Janice Kerbel produced a print project based on 19th-century fairground posters announcing a series of remarkable characters. Developing Kerbel’s interest in the prediction of events, each print evoked a figure created in relation to the specifics of the fair itself.
Frankfurter Kunstverein presented examples of the organisation’s activities including film screenings and discussions in a structure designed by the artist Tobias Putrih.