NEW YORK − Building on Miami’s overwhelming success, SCOPE launches its 2011 season with its flagship fair, SCOPE New York. Serviced daily by shuttles, this year SCOPE expands to a 60,000 square foot hall on the West Side Highway, minutes from The Armory Show. The fair opens to Press and VIP’s on Wednesday, March 2 with the FirstView benefit.
This year’s New York edition of the fair, March 2 – March 6, 2011, will present over 50 international galleries from four continents and sixteen countries including China, Mexico, Japan, Korea, Brazil, Italy, France, Belgium, the Netherlands, Norway, Switzerland, Germany, UK, Spain, and Canada. SCOPE New York’s invitees will uphold its unique tradition of solo and thematic group shows providing the real opportunity for gallerists, collectors, curators, artists, critics and art lovers alike to experience a view of the contemporary art market available nowhere else.
“Our new monumental location will highlight SCOPE’s core mission of introducing international galleries alongside museum quality programming, collector tours, screenings, and special events. Anchoring SCOPE as New York’s destination fair, programming expands in partnership with local and international cultural organizations, featuring: film, music, installation and performance. “SCOPE New York will again highlight our lead role as creative R+D for a wider audience of taste makers who make art their business” says SCOPE President & Founder Alexis Hubshman.
With over 40 fairs spanning ten years in Miami, Basel, New York, London, and the Hamptons, SCOPE Art Show’s have hosted an impressive line-up of A-list galleries, blue-chip institutional groups, and respected patrons, garnering critical acclaim, sales of over $150 million and attendance of over 400,000 visitors.
”Spring, Summer, Fall, Winter … and Spring” is an exquisitely simple movie. Written and directed by Kim Ki Duk, it was filmed at a single location — a remote and picturesque mountain lake in a South Korean wilderness preserve — and it concentrates on the relationship between a Buddhist monk and his young protégé, characters whose names are never spoken. But like Blake’s ”Songs of Innocence and Experience,” the film’s lyrical plainness is the sign of a profound and sophisticated artistic sensibility. In five sharp, concise vignettes that correspond to the seasons of the title, Mr. Kim manages to isolate something essential about human nature and at the same time, even more astonishingly, to comprehend the scope of human experience” -NY Times