Innovative London Drawing Fair with No Stands Stages Its Second Edition

*Tracing Time* showcases drawings from 500 years, taking place from 26 June to 5 July at No. 9 Cork Street. The fair adopts a stand-less format, increases gallery participation from 17 to 35, and combines elements of a group show and a social gathering. It aims to foster accessibility and innovation in the art world while supporting the drawing medium amid economic challenges.

The innovative drawing fair, Tracing Time, returns for its second edition from 26 June to 5 July at No. 9 Cork Street, aiming to revitalise London’s art market. The exhibition showcases drawings spanning 500 years and introduces a stand-less format designed for today’s challenging economic conditions. It coincides with the Classic Art London series of exhibitions and reflects a blend of group show and salon-style fair.

Organised by the online platform Trois Crayons, co-founded by Sebastien Paraskevas, Alesa Boyle, and Tom Nevile, Tracing Time will see an increase in participating galleries, expanding from 17 to 35. Collectors can expect works from renowned artists like Giovanni Domenico Tiepolo and Gustav Klimt. The fair aims to provide fresh insights into the niche market of drawings.

Trois Crayons seeks to break from the traditional fair model, echoing similar drawing fairs like Master Drawings New York (MDNY), where galleries present casually rather than through formal booths. Allison Wucher from The Drawing Foundation calls these models “vital alternatives,” noting that a more inclusive fair can encourage innovation and creativity within the art community.

One big plus for Tracing Time is the low overhead for galleries. Instead of the usual costs tied to renting and setting up a booth, galleries pay a flat fee to Trois Crayons, allowing them to keep all sales proceeds. Paraskevas and Boyle believe this gives galleries a competitive edge on pricing, ultimately benefiting buyers.

Galleries appreciate the flexibility of this approach, with dealer Nathalie Motte Masselink noting the savings on accommodation costs during the fair. The support from Trois Crayons on logistics, especially post-Brexit, also makes participation easier.

However, the stand-less format might limit personal interaction between dealers and collectors. Despite this concern, Paraskevas and Boyle highlight the benefits, stating that visitors can explore the space at their pace, focusing on what interests them most. This laid-back atmosphere could lead to the fair becoming a social hub for art lovers.

Wucher points out that an increasing number of buyers are now more attracted to the visual impact of the drawings than the known provenance, which is reflected in some recent auction results. Tracing Time offers a variety of works at different price points, making it accessible for both local and international collectors in this specialised market.

Jonny Yarker of Lowell Libson & Jonny Yarker emphasises that while chasing top artworks may make business sense, it neglects a wider audience of collectors who also play a vital role in the art ecosystem.

Ultimately, exhibiting drawings in London is seen as crucial for sustaining interest in this medium, as highlighted by Motte Masselink. “If you want a market, you have to maintain it,” she states, adding that exposure is key for the future of drawing as an art form.

In summary, *Tracing Time* showcases a fresh approach to the drawing fair scene in London by eliminating traditional booths and focusing on accessibility and inclusiveness. This year’s edition expands participation and features a broad array of both renowned and lesser-known works, catering to an evolving collector base. The exhibition not only highlights the importance of drawings in the art market but also establishes a social hub for art enthusiasts.

Original Source: www.theartnewspaper.com