Mario Garcia Torres was last year’s winner of the Cartier Prize, and is in London to celebrate the Frieze project and the Cartier Award. His project was “a hybrid between a conference and a monologue, and the whole idea is to bring a specific story to the fair - which is a failed story of a film-maker.”

Torres wanted to turn the sad story into “something interesting and attractive – use the success context for the story.”

There’s a character called Alan Smithee, which is used when directors don’t want to associate their name with something. The character has therefore jumped from a failure story to being used in many unfinished film works.

Torres drew some inspiration from being in L.A. and also shaped the piece around the context of the Frieze art show; it may have turned out differently otherwise.

Arnaud Bamberger is the current Managing Director of Cartier UK, and believes there has always been a strong tie between Cartier and the contemporary arts. The Cartier Foundation has been associated with the arts for 23 years, and Bamberger is a big supporter of that association. Cartier were one of the first of their type to become so involved and interested in the contemporary arts.

In London, Bamberger believes the organizers of Frieze are talented individuals, and wanted to associate Cartier with what Frieze has done. Cartier has been an associate sponsors for 4 years now, and it seems the relationship is blooming.

There is a clear explosion of contemporary art going on. Bamberger attributed this to buyers wanting to be able to associate their art with their time, which would lead to mixing the old with the new. Bamberger clearly appreciates most art, and although the huge price tag associated with most well-known art is off-putting, he still intends to build a collection for himself.

The Cartier prize this year went to a young Mexican artist who lives in L.A. and has a “good vision of art – I think he very much deserved the prize.”

Simon de Pury, from Phillips de Pury and Company Auction House talks about the exciting Faber collections of Chinese contemporary art, which will be featured in upcoming auctions; “It has works from all the best artists but from the best periods – all the early works.”

This is what will give the auction its unique nature – the fact that these works cannot be found anywhere else makes the auction even more important. This is not the only significant auction, as valuable works from Russian and Italian collections were also sold.

Mr. de Pury believes the Russian market is going to be at the forefront of significance soon, and the recent auction is only the beginning. The internationality of buyers and sellers is the most exciting aspect of the current market; non-Russians buying Russian art, non-Chinese buying Chinese art, and both buy international art.

“It has finally become a really global marketplace, which it wasn’t 5 years ago.”

Stan Stalnaker, defines Hub Culture as a “social network geared around global influentials.” Hub Culture involves thousands of urban-minded people worldwide and creates a global network of people from all different cultures. Stalnaker believes that the cultural part of this network must include art; “Seeing the world on a global basis, the art world is one thing that transcends nations and borders…you have artists and collectors and galleries that really span the world now.”

The importance of art to different cultures means that it immediately appeals to the members of Hub Culture. Stalnaker wants to include some sort of ranking system in the network – ‘a who’s hot who’s not’ of the art world. This may include the up and coming artists as well.

Events like Frieze help the urban-minded understand what’s really going on in the world of art, which is important for branding and the overall point of Hub Culture. Hub culture will be in Hong Kong in November and then in Miami to raise money for fireman. Events also happen in Dubai, S. America, and Australia.

It’s a social network like Facebook that connects the offline with the online world.

Renowned fashion designer Matthew Williamson is a first-timer to the Frieze art fair, but is no stranger to involvement with art; he is working on an exhibition for the Design Museum.

“I’m getting more and more interested in the art world – I’m always looking at different artists, galleries, and museums – influence from all different places.”

There is a clear link between the fashion world and the artistic world, and Williamson acknowledges this; “The creative industries are becoming closer and closer, like fashion, interior design, and architecture – they’re all part of the same world.”

Mr. Williamson plans to attend the Frieze art show, and admits he bought his first piece of art just that week! “It’s by a pair of artists called Rob and Nick Carter – they do a lot of art centered around colour, which I love!” The piece sounds stunning, Williamson describes it as “a light installation – a series of horizontal neon tubes that move and change colour.”

He may turn out to be an art lover and collector, but is limited by the space he has in his house! Williamson adds that the important aspect about the piece he bought was that it spoke to him in particular – “It was me!”

Mr. Dunphy manager of the profound artist, Damien Hirst, believes there will always be exciting works on auctions, but “that’s what the art market’s about.” He is not concerned about the buying and selling of his client’s work, “people buy and invest and people sell.” He does admit it is nice to see Damien’s art selling, but comments generally on the overall state of the art market. Works are currently in high demand, and many people at the Frieze art show have commented on the healthy state of the art market.

“We are in a good time, and I think I will continue.”

Mr. Dunphy is looking forward to the upcoming auction in the Shadow Lounge, commenting that he never would have thought he would be auctioning contemporary art there!

Mr. Dunphy, although he did not attend the Frieze show, praises the fair; “The whole thing is wonderful.”

Neville Wakefield, the current Curator of the Frieze Project comments on this year’s Frieze show. This year is especially exciting, as Wakefield wants Frieze to cover both ends of the spectrum. At one end there are incredible spectacles by the likes of Richard Prince, while at the other end there are artists like Chris Martin, whose works “have no real presence, but are an intervention to the fair.”

When selecting art for an unconventional viewing like a fair, there may not necessarily be the same criteria that there would be at a more traditional viewing. Mr. Wakefield was interested in projects that can exist in the sort of environment that is not traditional, and not like the average art show. The previously used examples, by Richard Prince and Chris Martin, would never be able to exist in a gallery – especially Chris Martin’s piece, which is a minute silence.

The piece by Richard Prince involves a traditional car and car-stand that you would expect to see at a trade show; this comes complete with a model (Carly) and music by Led Zepplin. This is a “Riff on the fair as a trade show, but also on extending the idea

the ready made art object.”

Mr. Prince had the car specially built for the show; “It’s a unique copy of a mass produced original.” The irony comes from the fact that Mr. Prince put so much work into producing something that was meant to be ‘labour-less’.

Frieze is a fairly young concept, “What distinguishes Frieze, at least from my experience, is that it comes from an editorial background. So it comes from a slightly different place, which attracted me to it - it comes from a place that isn’t commercial.”

When asked for his thoughts on the sustainability of the current ‘rude health’ of the art market, Mr. Wakefield was skeptical. “I’m not sure it can continue because demand exceeds supply.” His worry about this is that the excess demand may get fed with lesser art works. “Although this may not be the case with Frieze, it is an overall sense of something that’s happened.”

Turner Prize winner Keith Tyson confirms that he may be loosening the purse strings at the Frieze art show. It’s exciting times for Mr. Thompson who has 2 works up for auction at the Shadow Lounge – although Mr. Thompson is looking forward to the event, he admits “I don’t know what to expect!”

The upcoming auction will be a “very tasteful evening – a lot of scantily clad individuals. There’s a 2000-year history so I think its just upholding that tradition.”

Its no surprise to anyone to hear that the financial markets are undergoing tough times, and that this squeeze may affect the art market; People might be a bit more nervous resulting in a lowering of art prices. Mr. Tyson responds well by pointing out that it is the value of the art, and not the price that really matters.

“As an artist it’s an irrelevant question – the value of art doesn’t change, just the price. My gut feeling is the price will stay very high, but the value is timeless, and that’s all everyone should worry about.”

The current start of the art market at Frieze is looking good; “I wouldn’t call it excessive exuberance, I would call it indulging one’s passions for what’s going on…It’s a fantastic market right now”

“There are an amazing amount of collectors coming in and engaging with contemporary work – I think the auctions will be very successful.” Mr. Blain comments that you can expect more growth in the next 5 or 10 years.

The prediction over the next 10 to 15 years is a good ‘solid trend’. Although there will inevitably be “times when it’s less frothy than others, I think that’s good for the market.

There is a lot of variety in terms of people interested in the art market – China, India, South America, and the Middle East are all engaging in the Western art market. “It’s an incredible moment for contemporary art and culture as a whole.”

There are also a number of Middle Eastern collectors springing up and building collections of contemporary art – “they will be some of the most important collections worldwide.”

Although it is Mr. Blain’s 40^th birthday, he modestly attributes the attendance to the open bar.

The curator of Frieze Projects, Neville Wakefield, says that what distinguishes Frieze for him is its editorial background. ‘It comes from a place which isn’t commercial’ he says.

For Oliver Barker of Sotheby’s, the charm of Frieze is the comfortable atmosphere where feels like a part of the experience. The price range also means that there is art for every pocket – no one goes home empty-handed.

There was an upbeat feel to the insiders’ reports of the state of the contemporary art market; Harry Blain of Haunch of Venison comments ‘it is a fantastic market right now with an amazing amount of collectors coming and engaging with contemporary work. The auctions will be very successful and over the next 5 or 10 years you will see that grow again.’

Cheyenne Westphal of Sotheby’s remarks that the famous auction house sold £30m worth of art, a feat which has not been achieved in October before. ‘This is largely down to Frieze coming to London and making London the centre of the art world during this week’.

Frank Dunphy, Damien Hirst’s manager, echoes the positive message saying that ‘it is nice to see art selling and prices being maintained. I think we are in a good time and I think it will continue.’

Another theme of 2007’s art fair was the prominence of immerging markets, with Harry Blain commenting on the importance of China, India, South America and the Middle East. The flamboyant and charismatic auctioneer, Simon de Pury, reinforces the idea of the contemporary art world as a melting pot, ‘non-Russians are buying Russian art, non-Chinese are buying Chinese art, Chinese are buying international art – the art world has finally become a really global marketplace.’

t5m.com went along to Zhang Huan’s show at the Haunch of Venison which gives a compelling demonstration of this globalisation of the art world and the interest in Chinese art. Matt Carey-Williams, Director of the Haunch of Venison, recounts how Western collectors meeting artists and returning to Europe and the USA with their art in the mid-90s marked the initial gold-rush but that only in the last 4 years that Chinese art has moved to the top of everyone’s shopping list.

Zhang Huan’s moving and ephemeral art is the outcome of several stages. The initial images are drawn in charcoal, then the canvas is laid on the floor and parts of it are covered in very light resin glue. Finally ash is applied to the surface with a delicate brush. As Matt comments, although they are paintings, they are treated like sculptures.

Stan Stalnaker, of Hub Culture, sums up the general feeling of last year’s show when says that the art world transcends nations and boarder now as there are collectors, galleries and artists who really span the world.