As Frieze London approaches, its significance as a premier platform for contemporary art continues to grow. The Director of Frieze London, Eva Langret, stands at the helm of one of the most influential art fairs in the world. Appointed in 2019, she has quickly made her mark by driving the fair’s strategic development and championing its commitment to showcasing bold and pioneering contemporary art. Langret’s career trajectory, which includes her tenure at Tiwani Contemporary and notable curatorial projects at The Delfina Foundation, reflects her deep engagement with fostering diverse artistic voices. Her curatorial vision is grounded in amplifying underrepresented narratives and expanding the boundaries of contemporary art discourse.
Eva Langret possesses a profound understanding of the intricate ecosystems that drive the art world, seamlessly blending respect for tradition with a forward-looking approach to innovation. Her leadership at Frieze is distinguished by a commitment to diversifying perspectives, actively moving beyond Eurocentric narratives to establish a truly global and inclusive platform. This year, the fair is welcoming more than 160 galleries to Frieze London from wide-ranging geographies, including Senegal, Korea, Georgia, and China. There is a mix of new and radical galleries alongside established ones. This year’s fair introduces dynamic new sections, such as the highly anticipated “Smoke,” curated by Pablo José Ramírez, which explores diasporic and Indigenous histories through ceramics. These curatorial innovations reflect Langret’s unwavering dedication to expanding the horizons of artistic expression while fostering meaningful dialogues among international artists, collectors, and curators.
In this interview, Langret reveals how her unique curatorial approach for Frieze London 2024 balances the fair’s role as both a platform for artistic discovery and a commercial hub. Through carefully curated sections and a focus on emerging voices, she continues to expand Frieze’s influence, positioning it as a global cultural touchstone that reflects the evolving landscape of contemporary art.
Portrait of Eva Langret by Deniz Guzel.
WHITEWALL: Frieze London has become a leading force in shaping global contemporary art. As the Director of Frieze London, how do you envision the fair’s role in setting new cultural and artistic benchmarks in 2024 and beyond?
EVA LANGRET: Frieze London has always been a major gathering point for the global art world, and 2024 marks a significant moment as we unveil a bold new design that reimagines the fair experience. By placing solo presentations and emerging artists at the forefront, we’re not just reshaping the layout but fundamentally enhancing the way visitors engage with the art. This redesign maximizes opportunities for fresh experiences and perspectives, aligning with our forward-thinking vision to set new cultural and artistic benchmarks for 2024 and beyond. These changes ensure that Frieze continues to inspire the next wave of global artistic dialogue.
“By placing solo presentations and emerging artists at the forefront, we’re not just reshaping the layout but fundamentally enhancing the way visitors engage with the art,”
Eva Langret
Showcasing Works which Explore Diasporic and Indigenous Histories
WW: Frieze London 2024 will introduce curated sections like “Smoke”, which explores diasporic and Indigenous histories through ceramics. How did you approach curating these culturally and politically significant themes, and what kinds of dialogues or reflections are you hoping to inspire among visitors through this section?
EL: For each edition of the fair, we invite guest curators—individuals from leading institutions all over the world—to conceptualise and curate special sections. This year, Pablo José Ramírez, Curator at the Hammer Museum in Los Angeles, will present “Smoke,” showcasing ceramic works that explore diasporic and indigenous histories. I became aware of Pablo’s work when he co-curated the 2023 Made in LA Biennale, Acts of Living. There isn’t a rigid approach to how we select guest curators; we simply look to work with people who are doing interesting work, which often intersects with emerging discourse. Pablo’s section will bring together artists who are pushing the boundaries of the medium, exploring clay in innovative and expanded forms. I’m especially excited to see presentations by artists like Ayla Tavares from Rio de Janeiro and Indigenous Mexican artist Noé Martínez.
Courtesy of Frieze London.
Championing Young Galleries and Artists with an International Audience
WW: Frieze has a strong tradition of promoting emerging talent through platforms like the “Focus” section. How do you see this emphasis on young, up-and-coming artists shaping the broader contemporary art market, and what role does Frieze play in nurturing these artists’ growth both creatively and commercially?
EL: One of the things that makes London so special is that it continues to be a place many young artists call home, as well as a hub for a thriving young gallery scene—the city boasts a creative community like no other. We’re excited to have so many of these young galleries and artists participating in the fair, such as Harlesden High Street, Ginny on Frederick, and Public, alongside first-time participants like Brunette Coleman, who will present a solo exhibition of Nat Faulkner, and South Parade, showcasing work by Georgina Hill. I’m always proud that at Frieze we can provide young galleries and artists with a platform to exhibit their work to a highly engaged international audience, including major collectors, curators, and industry figures. Last year, we began a global partnership with the fashion brand Stone Island, which offers bursaries covering up to 30% of the stand fee for each Focus gallery. Combined with Frieze’s existing subsidy for this section, it ensures that the most exciting young galleries can participate in the fair.
“One of the things that makes London so special is that it continues to be a place many young artists call home, as well as a hub for a thriving young gallery scene,”
Eva Langret
Courtesy of Galeria Athena and Hatch.
Frieze London Embraces the Best of Global Contemporary Art
WW: As Frieze expands globally, with satellite fairs in Seoul and Los Angeles, how do you maintain Frieze London’s distinct identity? What role does London’s unique position as a financial and cultural hub play in shaping the direction of the fair?
EL: With each of Frieze’s fairs, the aim is to present a distinct offering that reflects the cultural landscape of its host city, featuring a core contingent of local galleries from across all levels of the market. Frieze London places an emphasis on the very best in contemporary art globally, focusing on the most exciting artists working today—for example, it has one of the largest emerging gallery sections of any major fair. Though the UK is one of the largest art markets globally, I wouldn’t say this necessarily shapes the direction of the fair, but it undoubtedly adds to the appeal for galleries wishing to participate. This is, of course, in addition to numerous other factors, all of which combined help cement London’s enduring status as an international cultural centre. The city is home to around 900 art galleries, many of which are rated among the best in the world, such as the National Gallery, Tate Modern, and the V&A—spanning centuries, continents, and cultures. Most of our public collections are free to visit—Tate Modern is the most visited gallery in the world!
WW: Frieze London attracts a diverse array of galleries, from local to international. What are the key factors you consider when selecting galleries for the 2024 edition, and how do you ensure that the fair maintains a balance between showcasing cutting-edge contemporary art and works that appeal to high-profile collectors?
EV: Each year we receive hundreds of applications from galleries wishing to participate in the fair. The selection is made by a committee of gallerists who participate in the fair, for 2024 this included Stefan Benchoam from Proyectos Ultravioleta, Pauline Daly from Sadie Coles HQ, Stephen Friedman, Alexander Gray, Esther Schipper and Angelina Volk from Emalin. Galleries are selected based on the quality of their programs, or in the case of those featured in our curated and Focus sections, on the strength of specific presentation proposals to be shown at the fair. The inclusion of feature sections ensures representation of new and lesser-known names, whereas we know that blue-chip galleries will bring works at the other end of the spectrum.
Courtesy of Hauser & Wirth.
Understanding and Uplifting the Arts Ecosystem
WW: With major institutional collaborations and artist commissions, such as the Frieze London Artist Award, how do you see the relationship between commercial galleries and public art institutions evolving? What role does Frieze play in bridging that gap?
EV: Frieze London owes its success in part to the vibrant arts community and the exceptional artists, galleries, and institutions in the city. We understand how crucial the entire arts ecosystem is for our collective success, which is why we are committed to supporting artists and organizations that need it most. To that end, we have initiated several collaborations aimed at strengthening the UK’s institutions. One highlight is the Camden Art Centre Emerging Artist Prize at Frieze London, where an artist is awarded the opportunity to present their first solo exhibition at the centre in October 2025. We’ve also introduced acquisition funds such as the Frieze Tate Fund, the Contemporary Art Society’s Collections Fund, and the Arts Council Collection Fund, all designed to bring new works into the nation’s public collections.
Additionally, artist commissions like the Frieze Artist Award play a vital role in the fair’s programming. This initiative has served as a springboard for artists at critical stages in their careers, with past recipients achieving notable success—like Alberta Whittle, who represented Scotland at the 2022 Venice Biennale. I’m excited to see this year’s recipient, Lawrence Lek, and his new multimedia installation exploring the future of AI.
“We understand how crucial the entire arts ecosystem is for our collective success, which is why we are committed to supporting artists and organizations that need it most,”
Eva Langret
Courtesy of Parrasch Heijen.
An Ever-Evolving Fair Model Poised for Action
WW: Given the recent economic shifts and uncertainties in the global art market, what trends do you anticipate shaping the future of art fairs like Frieze? How are these trends influencing your curatorial strategy for 2024?
EL: At Frieze, we are continually evolving our fair model to respond to the needs of our community, from pivoting to digitally focused initiatives during the pandemic to the launch of our gallery space, No. 9 Cork Street, which provides a hub for galleries to stage pop-up exhibitions in the heart of Mayfair. It’s hard to know what the future holds, but we remain poised for action.
WW: Frieze London 2024 will spotlight solo presentations and emerging voices. As Artistic Director, how do you see these presentations influencing the future of art collecting? Are you noticing a shift in collectors’ interests, particularly with the growing focus on new media, socially engaged art, and more global perspectives in contemporary narratives?
EL: At our fairs, we prioritize discovery, aiming to give all visitors the opportunity to encounter something fresh and unexpected. Our curated sections, such as Artist-to-Artist, are designed with this in mind. In this section, established figures like Hurvin Anderson, Lubaina Himid, Rashid Johnson, Glenn Ligon, Zineb Sedira, and Yinka Shonibare select emerging talent to showcase solo presentations. By highlighting new voices, we hope to inspire collectors to take risks and support lesser-known, up-and-coming artists alongside established names.
Courtesy of Pippy Houldsworth Gallery.
