전 세계 110여 개의 참여 갤러리와 한층 풍성해진 기획 프로그램으로 프리즈 서울이 돌아온다. 이번 아트페어는 갤러리 섹션과 함께 신진 작가 및 고대 미술품을 위한 특별 섹션으로 구성되며, 프리즈 아티스트 어워드(Frieze Artist Award), 프리즈 필름(Frieze Film), 다양한 토크 프로그램, 그리고 도시 전역에서 열리는 프리즈 위크(Frieze Week)의 문화예술 행사로 활기찬 아트페어 개최 주간이 준비되었다.
2013 will likely be remembered as the year in which global surveillance disclosures dented the confidence and quietude of a Western monoculture previously blithe and blasé to the potentially deleterious effects of total surveillance. This ongoing issue was concurrent to a parallel development that year, the Europe-wide meat adulteration scandal, in which advertized beef was found to contain undeclared animal meats such as horse or pork. Collective awareness often operates contrapuntally, so that a story meriting mass attention (the NSA scandal) is echoed and inverted in a comparatively minor phenomenon (a lack of faith in food distribution oversight), which at times gains even more attention than the ‘larger’ phenomenon that serves as its backdrop. This process wherein attention is both focused and displaced – akin to Freud’s transference and Hegel’s sublation – partly accounts for what can otherwise seem like collective blindness or evasion in the face of the obvious. The writing of collective memory – what was once simply called ‘history’ – is not simply a case of retracing the superficial fixations of a ‘mainstream’ media, but of reconciling this with the buried points that it conceals. Crucially, we need both, the surface chatter and the facts that endure a communal meme culture. In 2013, both the NSA revelations and the horse meat scandal rocked confidence in mechanisms of supply and distribution, while confirming the eerie proximity between the agents of outrage and the agents of enforcement – the double-bind of a ‘prosumer’ economy, in which the witness is the former surveillant (Snowden), and participation is equivalent to ‘disruption’.