Hosted exclusively for Frieze VIPs to mark the start of a new partnership between Frieze and Sloane Street, the conversation was held at The Cadogan, a Belmond Hotel. Moderated by Jayden Ali, the conversation focused on the importance of context and engagement with public art, as well as the role of anti-monuments. 

Celebrated artists, including Céline Condorelli, Conrad Shawcross, and Shezad Dawood, alongside Lizzie Carey-Thomas, interim director of programmes and chief curator at the Serpentine Galleries, delved into the complexities of art beyond gallery walls, engaging with themes of context, collaboration, and community engagement in public spaces.

Carey-Thomas highlighted the vital role of context when commissioning public art. Unlike a gallery setting, where the space’s atmosphere is carefully curated, outdoor art exists in a shifting, organic environment. 

She reflected on Henry Moore’s Arch in Kensington Gardens, where the sculpture is constantly reinterpreted by its surroundings and those who interact with it. This sentiment was echoed in her experience with Christo and Jeanne-Claude’s The London Mastaba, where the floating installation on Serpentine Lake transformed daily with the changing light, adding layers of engagement for viewers.

Céline Condorelli brought a fresh perspective, exploring the relationship between sculpture and space. Drawing on historical examples such as the Boboli Gardens in Florence, Condorelli emphasized how outdoor art choreographs a journey through the space, encouraging dialogue between the artwork and the natural environment. 

Her own practice often focuses on creating anti-monuments, subtle structures that avoid imposing on the viewer and instead invite interaction. Her work in Geneva, a tribute to women, supported a 150-year-old pine tree, becoming both a tribute and a functional piece of public art.

Shezad Dawood’s contributions expanded on the idea of public art as a living, breathing entity. He views each project as an archaeological process layered with historical, present, and future narratives. 

Dawood’s upcoming work for the Gaumont on The King’s Road, inspired by astronomy and local history, will feature 75 hand-sculpted ceramic relief bricks, blending the past with a forward-thinking design aesthetic. 

“The King’s Road, it’s Charles II’s road: the person who basically funded the Royal Observatory because he was a huge devotee of astronomy,” explained Dawood. “Mary Shelley and Bram Stoker lived in the neighbourhood, and there’s a strong presence of moons in their work.”

Conrad Shawcross, known for his intricate geometric sculptures, focused on the importance of ego suspension in public art. He discussed how his Three Perpetual Chords installation, designed for Dulwich Park, was intended not just for art enthusiasts but also for children. 

By making the sculptures tactile and interactive, Shawcross created pieces that are actively lived in, climbed on, and engaged with. For Shawcross, public art serves as a point of connection—both for those who encounter it and the environment in which it exists.

The roundtable concluded with a reflection on the future of public art in Chelsea, especially in light of the transformation of Sloane Street following a £48-million makeover. 

With plans to introduce more installations along the new-look Sloane Street, Chelsea continues to champion creativity, offering a space where art, architecture, and history intersect. 

As the Street prepares for its next chapter, and its new partnership with Frieze, the conversation underscored the importance of context, collaboration, and community in shaping the next generation of public art, ensuring it remains a vibrant part of the city’s cultural fabric.

Art in the Open: Navigating Commissions for Public Spaces took place on 11 October 2024 at The Cadogan, A Belmond Hotel, 75 Sloane St, London, SW1X 9SG. 

Find the full conversation here.