Let's begin by comparing this year's format with last year's. It seems that the press, participants, and even organisers are still unsure about what exactly Minor Attractions is. Some refer to it as a "non-fair," how it was advertised last year, while this year, it's labelled as "an art fair" on the website and in most spaces. The Art Newspaper added to the confusion by calling it "a commercial art event" and "a selling event." And I shall join this confusion. In a few interviews, Jacob and Jonny mentioned that they drew inspiration from the "spirit of Basel Social Club," though I have no idea what that is, and I suspect at least 50% of the audience doesn't either. However, I must admit that what I saw at the Mandrake Hotel in Fitzrovia was new. It's earned a spot on my "Unique Art Events London 2024" list.
I heard very mixed comments about the event, tho. Some people were very happy that they could connect with others (gallerists), some found it important but overwhelming (artists), and some found it confusing and awkward (critics and collectors). The last group advised me to bring someone along if I planned to attend. I'm glad I did.
Upon entering the hotel, I found myself in a long, black corridor adorned with MARIA's glittery silver roses hanging from the ceiling. The staff warmly welcomed me and provided a brochure with a map and a list of galleries. The first two minutes intrigued me, but once I reached the café, I felt completely overstimulated. The vibrant pinks, feathers, art (decor?), and fake flowers overwhelmed me to the point where it became hard to find pieces made by artists who participated in Minor Attractions. The human-sized monsters near the café added to the surreal atmosphere.
I'm glad I skipped the PV, as even regular art openings can feel intense. I heard that this opening was "hardcore," but after seeing the programme, I understood that "hardcore" was part of this year's identity. As I explored the rooms with a friend, I noticed only a handful of other visitors, which was perfect. The contrast between the rooms and the downstairs was striking—upstairs, the rooms and terrace felt detached from the chaos below. The spaces were modern, white, and serene, and the outside area felt like a peaceful escape from London.
In particular, Bolanle Contemporary's presentation of Djofray Makumbu's work stood out. It wasn't just about the art; the curation was thoughtful, with magazines featuring articles about the artist in the bathroom, books on shelves presumably connected to his research, and music that perfectly set the atmosphere. This was undoubtedly the highlight for me.
Choosing the Mandrake Hotel as the venue for this year's Minor Attractions was a much better decision than cramming it into another white-cube space. The artworks didn't feel like objects sold in an elitist tent at Frieze. They felt like artworks that you could actually live with. The most interesting displays were in the bathrooms and on the terrace, though asking about the works felt odd. Something about being forced into such close quarters with the gallerists made the whole interaction uncomfortable, especially when I wasn't particularly enthusiastic about the pieces. The venue was a maze, so I likely missed a few rooms, but I wanted to highlight a few artists and gallerists that also caught my attention:
Benjamin Orlow @benjaminorlow and Rasmus Ramö Streith @rasmus.streith @stchadsprojects
Kenji Lim @kenji_lim_ with IMT Gallery @imtgallery
Beverley Duckworth @bev.duckworth with SLQS Gallery @slqsgallery
Rosie McGinn @rosiemcginnart with Division of Labour @division_of_labour
Christian Jankowski @christianjankowski_official with SUPRAINFINIT GALLERY @suprainfinitgallery
Kelly Ballett @kellyballett with Scatological Rites of all Nations @scatologicalritesofallnation_s
Compared to last year's event, my experience was more positive. This year's iteration felt different but in a good way. Looking at the galleries involved, it's clear that they've evolved, which gives hope for continued growth next year. However, I feel the organisers missed an opportunity by not including more discussions or panels, something Frieze excels at. Like last year, Minor Attractions still feels more like a cool kids' party than a platform for critical dialogue. Listening to the gallerists or reading The Art Newspaper, I heard the same recycled phrases: "supporting each other," "connecting collectors with artists," and "increasing visibility." It's all good, but there's little critical commentary.
Minor Attractions did try something different this year, but I'm not entirely sold on the statement I found on their website: "The fair is designed as a space where art and nightlife meet, allowing the swells of international collectors in the city to mingle with the art workers and artists that make the art world tick." Maybe it's because I'm not a party person so I don't feel like MA is for me. I want to see more critical reflections from strong, independent voices rather than another circle of mutual adoration.
How will we reflect on and document what we're creating if we don't bring our whispered conversations and text messages into the public domain? Events like Minor Attractions are great, but too few journalists comment meaningfully. Most copy and paste texts from press releases, artists' bios, or interview snippets. I believe that we must do more than make art that critiques politics, social norms, and environmental issues. Art is great for highlighting problems, but will anything change if we only display it and party around it? That's why I think it's crucial for Minor Attractions to incorporate a series of panel discussions and talks next year.
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