Frieze Art Fair opens to London’s public today, promising a visual feast—and infinite Instagram opportunities—to 70,000-some expected attendees. Meanwhile, as part of Frieze Projects, a satellite sidebar, Berlin-based, American artist Isabel Lewis is creating work that caters to the four other senses. Somewhere in between parties, performances, and exhibitions, Lewis' Occasions offers a restorative treatment to fairgoers by fusing performance, hospitality, dance, discussion, and DJing into one event.
The first "occasion" was held last night at The Old Selfridges Hotel’s raw, industrial space, where Lewis transformed 240 square meters of concrete into a leafy oasis punctuated by plants, furniture, music, dance, smells (oranges, lemon, and a hint of bubble gum punched the palette), socializing, and free-flowing booze. The effervescent artist darted from her DJ booth to dance on tables (we couldn't help but remember she's Twin Shadow's sister) to engage attendees in discussions on everything from philosophy of gardening to love.
We caught up with Isabel to learn more about the performative process of hosting an "occasion." Catch it again tonight at Old Selfridges Hotel, Friday at Fenton House in Hampstead, and at a final location to be announced later this week.
KAM DHILLON: Why do you choose the word "occasion" to define your work?
ISABEL LEWIS: The term occasion deals with a question of format, which is incredibly important to my work. I come from a background in dance and theater, and I’m working more increasingly in a more contemporary art and music context so it's a strategy to negotiate these differences. I wanted to create a format that could connect to these different genres and content forms, and an “occasion” seeks to stake out its own space within these categories. It also evokes the social behaviors of a social occasion, like a dinner party or something familiar that you’re hosting at home. We can understand the codes of the occasion, just as we understand the codes of the theater, or an exhibition. So, using the word "occasion" hands subtle cues on how to behave in a space.
What should we expect?
Inside the occasion format, I’m hosting and I’m directing the flow of the event. I want there to be time for the visitor to be with themselves or be with one another. What it retains from the exhibition format is the liberalism of being able to come and go. Another difference to these other formats is that the occasion wants to address the whole human sensorium.
Do you ever have expectations for how you want an "occasion" to play out?
I try to stay away from expectations, but my hopes are that people will feel welcomed by the space, by my presence, and that they might linger for a while. I’m trying to create a space for connection and a certain quality of attention. I set my occasion into motion like a DJ would arrange their set. It’s precisely the type of work where having any kind of expectation might trip me up. If I did, I'd probably fail at the task of being present. This doesn’t mean that I won’t plan ahead when it’s all happening. I might already be thinking about what would be appropriate in the next moment.
How did you develop smells with olfactory sorceress Sissel Tolaas to work inside the occasion format?
Sissel is an incredibly talented Norwegian artist/scientist interested in the sensuality and capacity of the body, as well as the informational and emotional strata embedded within smells. After
The first "occasion" was held last night at The Old Selfridges Hotel’s raw, industrial space, where Lewis transformed 240 square meters of concrete into a leafy oasis punctuated by plants, furniture, music, dance, smells (oranges, lemon, and a hint of bubble gum punched the palette), socializing, and free-flowing booze. The effervescent artist darted from her DJ booth to dance on tables (we couldn't help but remember she's Twin Shadow's sister) to engage attendees in discussions on everything from philosophy of gardening to love.
We caught up with Isabel to learn more about the performative process of hosting an "occasion." Catch it again tonight at Old Selfridges Hotel, Friday at Fenton House in Hampstead, and at a final location to be announced later this week.
KAM DHILLON: Why do you choose the word "occasion" to define your work?
ISABEL LEWIS: The term occasion deals with a question of format, which is incredibly important to my work. I come from a background in dance and theater, and I’m working more increasingly in a more contemporary art and music context so it's a strategy to negotiate these differences. I wanted to create a format that could connect to these different genres and content forms, and an “occasion” seeks to stake out its own space within these categories. It also evokes the social behaviors of a social occasion, like a dinner party or something familiar that you’re hosting at home. We can understand the codes of the occasion, just as we understand the codes of the theater, or an exhibition. So, using the word "occasion" hands subtle cues on how to behave in a space.
What should we expect?
Inside the occasion format, I’m hosting and I’m directing the flow of the event. I want there to be time for the visitor to be with themselves or be with one another. What it retains from the exhibition format is the liberalism of being able to come and go. Another difference to these other formats is that the occasion wants to address the whole human sensorium.
Do you ever have expectations for how you want an "occasion" to play out?
I try to stay away from expectations, but my hopes are that people will feel welcomed by the space, by my presence, and that they might linger for a while. I’m trying to create a space for connection and a certain quality of attention. I set my occasion into motion like a DJ would arrange their set. It’s precisely the type of work where having any kind of expectation might trip me up. If I did, I'd probably fail at the task of being present. This doesn’t mean that I won’t plan ahead when it’s all happening. I might already be thinking about what would be appropriate in the next moment.
How did you develop smells with olfactory sorceress Sissel Tolaas to work inside the occasion format?
Sissel is an incredibly talented Norwegian artist/scientist interested in the sensuality and capacity of the body, as well as the informational and emotional strata embedded within smells. After