Sydney Contemporary – Australasia’s premier art fair – is the annual spring litmus test of the Australian art market. Returning to Carriageworks from 5-8th September, this year’s Fair offered a beacon of hope for galleries after the gloom of winter, when collectors typically travel to Europe and local sales are slow. Optimistic gallerists breathed a sigh of relief after doors opened on the Wednesday VIP Preview, noting sales were strong and better than expected. Despite the Australian economy and cost of living pressures, the Fair delivered a steady stream of collectors, injecting a renewed energy into the art market.
Occupying a reduced footprint from previous editions, the Fair comprised approximately 87 galleries across its three sectors – Galleries, Future and Paper. Notable absentees included Fox Jensen Gallery, Hugo Michell Gallery, Jan Murphy Gallery and Nicholas Thompson Gallery. This 2024 edition was also a more regional affair, with only one gallery from outside of Australia and New Zealand – Gajah Gallery, Singapore. Not surprisingly, the exorbitant cost of international freight nowadays makes it hard to draw international exhibitors to the region. Interestingly, however, several local galleries were participating in international fairs scheduled at the same time: Sullivan+Strumpf, 1301SW | Starkwhite and Ames Yavuz were all showcasing their artists at The Armory Show in New York, while STATION Gallery was exhibiting at Frieze Seoul.
Whilst there were few new discoveries to be made overall, highlights of the main Galleries sector included solo presentations that offered an in-depth view of an artist’s practice – Jamie North’s concrete and moss structures at The Renshaws; Josh Yeldham’s intricately detailed and labour-intensive works at Arthouse Gallery and Mitch Cairns’ brilliant paintings at The Commercial. As Amanda Rowell, Director of The Commercial, noted: “Art fairs can be an overwhelming blur. A solo exhibition offers a focal point and opportunity to gain a deeper insight into an artist’s practice. Mitch is an extraordinarily sophisticated artist. We have all but sold out of the paintings, both on the stand and in the gallery. It’s an excellent and not unexpected result.” Similarly, Cassandra Bird exhibited a strong body of work from Tennant Creek Brio – an experimental artist collective living and working on Warumungu Country. By the end of the preview, the booth had sold out.
Considered presentations and tight curation resulted in success – both Darren Knight Gallery and Moore Contemporary gave a masterclass in combining artists in a small space. Standout larger presentations included Alcaston Gallery with leading Yolngu elder and artist Djakangu Yunupingu from Yirrkala; the monochromatic offerings of 1301SW | Starkwhite, soon to open a Sydney gallery; Neon Parc’s ambitious and refined pairing of new and historical works by their contemporary artists including Darren Sylvester and Dale Frank; and of course, Roslyn Oxley9 Gallery’s museum-quality exhibition.
Choosing to showcase 40-years of the gallery’s history and archive, the artists’ works connected across time and tonality. Victoria Scott, Director of Sales at Roslyn Oxley9 Gallery stated: “Sydney Contemporary gives us the opportunity to connect with our collectors from across Australia and New Zealand and meet some wonderful new clients.” Notable sales for the gallery included placement of the last painting made by Ms. N Yunupiŋu with an international institution, multiple sales of works by Louise Hearman, Linda Marrinon, Dale Frank and the successful sale of a highly sought after painting by Daniel Boyd.
Indigenous work was strongly represented throughout the Fair, featuring in approximately 18 booths. Niagara Galleries director Bill Nuttall has long been known for quietly championing the work of important artists for over 45 years, and the gallery’s presentation of Utopia artist, Angelina Pwerle, was memorable. Pwerle’s small selection of dazzling bush plum paintings swiftly sold to private collectors, and for $50-60,000 a piece. Secondary market Indigenous sales were also strong. D’Lan Contemporary sold $1.725m worth of significant works including a large-scale painting by revered Anmatyerr artist Emily Kam Kngwarray and eight recently rediscovered works in gouache by the late celebrated Gija artist Paddy Bedford. Additionally, Michael Reid Galleries colourful showcase of Dr Christian Thompson AO, Betty Chimney, Owen Yalandja, Djirrira Wunuŋmurra Yukuwa, Regina Wilson and Gaypalani Wanambi revealed the dynamism and diversity of contemporary Indigenous work being made today.
The new Fair feature for 2024 was an expansion of the Paper sector, curated by Akky van Ogtrop, President of the Print Council of Australia. Whilst the larger hall offered a more spacious and leisurely viewing experience, the location had toned down its previously frenzied atmosphere and market feel. Vermilion Art’s presentation of three stunning works by Ah Xian were a highlight, alongside Utopia Art Sydney’s suite of six Emily Kam Kngwarrey works on paper from 1994 titled Untitled (awelye).
In addition to the gallery booths, the Fair’s program offered opportunities for audiences to engage with art and design talks, children’s art-making activities, installation and performance. Curated by Talia Linz of Artspace Sydney, the Installation Contemporary program featured 10 large-scale projects located throughout Carriageworks, and one on the roof. Highlights included Shanghai-born multimedia artist Lu Yang’s video DOKU the Self; Stephen Bird’s wall-based ceramic work Continent of Exiles; and large-scale text works by late artist David McDiarmid. These pithy, ironic observations lingered well after departing the Fair.
Performance Contemporary, curated by Samantha Watson-Wood, Director of Friends with Strangers, delivered a much-needed focal point on Opening Night. The major work ESSSENSSSE, by multidisciplinary artist HOSSEI, featured ten performers and a vibrant, colourful installation representing an aquatic ecosystem, exploring the tenacity of the human spirit, letting go and vulnerability. As collectors, curators, media, artists and art enthusiasts mingled and admired art over copious amounts of Pommery, the Fair provided a welcome gathering place for the art world to congregate.
Sydney Contemporary has announced its return in 2025 and will take place from 10-14th September. Shifting its dates to better accommodate a congested calendar with collectors attending Desert Mob in Alice Springs and galleries participating in international art fairs, the 2025 edition of the Fair presents a real opportunity to make some very bold moves both in terms of content and architectural design. The Fair reported approximately 25,000 in visitation across five days and AU$17.5 million in sales – a decline on the 2023 figure of $21million. For the sake of the vitality and ecology of the art market in the region and its galleries and artists, long may the Fair continue.
