Max Zorn’s first art fair gig was in Hong Kong. Out of our league as newbies, but it’s a fact that Max Zorn tape art hung somewhere between White Cube and the latest Damien Hirst installation. Like rats in science’s largest labyrinth, being in a massive Asian convention center with contemporary stars like Saatchi confused our senses and dwarfed our minds.
A dialled routine
Two years later Max is at Stroke art fair in Munich and our routine is locked down. Nowadays, people, place and positioning are very familiar. Max’s role is in high gear – he’s creating tape art live and in the flesh – and it’s working. There’s a flurry of activity. The crowd is big enough to be a fire hazard. We leave with sales, new offers and opportunities. Mission accomplished.
Bridging the gap
I don’t think it’s a secret that bridging the gap between art lovers and artists breeds positivity. But Stroke embraced this idea enough to grow a good mood into a larger sense of community with everyone present. Stroke was comfortable for artists, its stakes reachable for galleries, and its presentation of arts and entertainment a blast for visitors.
One night stands
Many people I’ve met tell me art fairs are like one night stands, and in some ways they’re right. There’s a lot of number exchanging and fake promises to call, until that awkward moment comes a year later when you run into each other again. Stroke art fair broke out of this cliché, and it’s refreshing to know this can happen.
As for the manager, who was constantly standing between beers, hip-hop DJs, urban threads and guys with dreads, Munich had never looked so gritty, grungy, and actually cool.