London Art Fair returned to the capital for its 37th year, welcoming 130 galleries from around the world to exhibit at Islington’s sprawling Business Design Centre.
A showcase of the very best in contemporary and modern art, visitors were greeted by the Fair’s most international show to date, featuring galleries from 18 countries outside the UK displaying work for sale.
The best of British was well represented: Francis Bacon triptychs, Tracey Emin prints, sun-drenched David Hockney acrylics, and Terry O’Neill portraits of The Rolling Stones and David Bowie sat metres from works by emerging European artists.
Among them were etchings by Spanish artist Juan Escudero, a winner of 14 international awards, and pieces by French abstract painter Christine Ankaoual, who recently celebrated her 80th birthday and exhibited in London for the first time.
“It’s a very fresh edition of the fair,” said director Sarah Monk of the differing notoriety of works on display. “We wanted to make sure it was a really accessible place for young emerging galleries to come and show in London.
“Whilst we have a very British focus, we want to celebrate London’s identity as a global centre for art,” she added, noting the selection committee’s growing interest in international curators. “This isn’t a regional fair.”
Norfolk’s Sainsbury Centre, known as the UK’s “most radical museum,” was this year’s London Art Fair official Museum Partner. Their ethos – that art should be treated as a “living entity” – permeated the entire event.
Between a Richard Avedon portrait of Francis Bacon and looming bronze sculptures by Alberto Giacometti and Dame Elisabeth Frink sat a large perspex box, inviting fair goers to climb in and become art themselves.
The Instagram-worthy installation reflected why Monk believed the London Art Fair had “weathered many storms” while others across the globe shuttered completely. “We always try to make sure that we’re evolving, that we’re reflective of all the trends,” she said. “We’re never complacent.”
Alongside its main collection, London Art Fair offered a series of curated sections. These included Platform, which explored artworks about nature and spirituality, and Encounters, showcasing the “freshest” collection of contemporary art from around the world. For Encounters, the Fair reduced display stall fees from £12,000 to £3,000 to encourage participation from young galleries.
Monk also highlighted efforts to attract young collectors. Adjacent to the Platform collection was Prints & Editions, featuring galleries focused on limited-edition prints, photography, and multiples, with prices starting at £500. On the opposite end of the spectrum, the Fair’s most expensive piece was priced at £500,000.
In addition to exhibiting works by contemporary giants and emerging artists, London Art Fair offered a diverse programme including talks on philanthropy, clay workshops, and soundbaths—a meditative experience using singing bowls or gongs.
“It’s just about being able to give people the full opportunity to discover art, buy art, build their understanding, and engage with some of the debates in the art world,” Monk said.
London Art Fair opened at the Business Design Centre on 22 January.
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