Last year the dealer-run mini-fair SEVEN, known to Art Basel Miami Beach migrants for mounting uncluttered exhibitions in Wynwood since 2010, made its debut in Brooklyn during Frieze Week. But with the group’s recent expansion to Texas during last month’s Dallas Art Fair and a full schedule at their preferred venue, Pierogi’s massive Williamsburg annex The Boiler, the organizers nearly gave up on holding a second edition in New York.
“We are all happier doing too much rather than too little, as long as we can do it in a uncompromised way,” Magdalena Sawon of Postmasters Gallery, a co-founder of SEVEN, told ARTINFO. “Unlike operations with large bureaucratic machinery behind them we have a great advantage deciding quickly, doing things quickly and collaborating in a very efficient ways.” Postmasters’s contribution to the exhibition will be David Diao‘s large painting from the mid-1980s, “Glissement”
“It actually is a single large painting from 1985 that I will be showing,” Sawon said. “It it the one that started his series based on the Malevich installation, so we consider it as a ‘patient zero’ for this seminal group.”
Each of the show’s seven galleries will show one artist: Postmasters is showing Diao; Feature Inc. will display abstract paintings by Mamie Holst; BravinLee programs is unveiling a torture-themed installation fusing painting, sculpture, and photography by Fabian Marcaccio; the non-profit Momenta Art is making its SEVEN debut with sculptures by Yoko Inoue; Pierogi will show a massive graphite drawing by Kim Jones; Ronald Feldman is bringing new colorful grid paintings by Bruce Pearson; and P.P.O.W. will show a large-scale installation and woven photograph by Hunter Reynolds from his series addressing the AIDS crisis.
“We are exhibiting one of Hunter Reynold’s corner stone works from his ‘Survival AIDS’ series entitled ‘We Die in the Streets’ along with an installation of one of his ‘Mummification Performance Skins,’ which was from his performance at Participant Inc. in 2000,” said Anneliis Beadnell, assistant director at PPOW. “We chose to exhibit Hunter’s work because we felt that the work’s scale and content was weighted enough to hold the industrial space of the Boiler.”
— Benjamin Sutton
(Photo courtesy SEVEN.)