The London Art Fair, Islington.
After a long morning of absent-mindedly drifting through my notes on Surrealism, I felt that an expedition was needed to save them from becoming the afternoon's pillow. Surely being surrounded by physical artwork is the best form of truly immersive revision? I decided that it was indeed and so Zen and ventured out in search of cultural enrichment at the London Art Fair 2014 (with a slight ulterior motive of a naughty Fro-yo) alongside 30, 924 other visitors.
Islington's business design centre was a vast venue with a rather complex floor plan, which made hunting for particular pieces feel like dropping your earring in a nightclub. However, there was a buzzing atmosphere thanks to the seamless fusion of an eclectic bunch of collectors, dealers and browsing students. The photograph below (whose origins have escaped me) was my favourite, because it reminded me of one of my favourite Saatchi exhibitions of last year; Sergei Vasiliev's photography of heavily tattooed Soviet Prisoners in the USSR.
Like many of our young contemporaries, the Photo50 contemporary photography exhibition was our highlight, thanks to the illusive title 'Immaterial Matter', which led to more the 50 brilliantly innovative pieces. Curated by Charlie Fellowes and Jeremy Epstein of the Edel Assanti, there was a particular focus on the themes of 'digital' and 'material'. We loved the layout of the exhibition on the second level, but some of the uber-modern photography wasn't particularly to our taste as with Andrew Norman Wilson's The Inland Printer 164.
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