A return to the hotel fair format, in the spirit of the storied Gramercy International Los Angeles at the Chateau Marmont, Felix grants galleries an efficient exhibition opportunity while offering the city’s collector-base intimate access and maximum flexibility. Located in the center of the Baile Felix Resort, Hotel International is a 4-star hotel offering a restaurant, a spa & wellness center with a salt cave, treatment facilities and a beauty parlor. WiFi is available in all areas and is free of charge.

VISITOR HOURS

Thursday, February 13, 2020
Preview (Invitation only), 11am – 6pm
Public Preview, 6pm – 8pm

Friday, February 14, 2020
Public Access, 11am – 8pm

Saturday, February 15, 2020
Public Access, 11am – 8pm

Sunday, February 16, 2020
Public Access, 11am – 4pm

PURCHASE ADVANCED TICKETS

Buy Tickets on Eventbrite

PARKING

Valet Parking is available on-site at the hotel. There are multiple parking facilities within a one block radius of the hotel.

ADDRESS

The Hollywood Roosevelt
7000 Hollywood Blvd., Los Angeles, CA 90028

“Young artists chatted with famous dealers; people looked at each other’s work; older artists brought students around. Sentimental educations were in the offing. This is what art fairs ought to be.”

– Jerry Saltz for New York Magazine

56 Henry, New York
Adams and Ollman, Portland
Baik + Khneysser, Los Angeles
Nicelle Beauchene, New York
Michael Benevento, Los Angeles
Bortolami, New York
Brennan & Griffin, New York
Matthew Brown Gallery, Los Angeles
Bureau, New York
CANADA, New York
Chapter NY, New York
C L E A R I N G, New York and Brussels
Company Gallery, New York
Corbett vs. Dempsey, Chicago
Creative Growth, Oakland
DOCUMENT, Chicago
Galerie Frank Elbaz, Dallas and Paris
Empty Gallery, Hong Kong
Fomo Haber, Athens
James Fuentes, New York
Grice Bench, Los Angeles

Kavi Gupta, Chicago
Jack Hanley, New York
Institute of Contemporary Arts, London
Alison Jacques, London
Anton Kern, New York
KLEMM’S, Berlin
Carl Kostyál, London, Milan and Stockholm
Andrew Kreps, New York
Tanya Leighton, Berlin
Josh Lilley, London
LINN LÜHN, Düsseldorf
Lulu, Mexico City
M+B, Los Angeles
Marlborough, New York and London
Martos Gallery, New York
Nino Mier Gallery, Los Angeles and Köln
Morán Morán, Los Angeles
mother’s tankstation, Dublin and London
Neue Alte Brücke, Frankfurt
Nicodim, Los Angeles and Bucharest
P·P·O·W, New York

Parrasch Heijnen, Los Angeles
Patron, Chicago
Peres Projects, Berlin
PRAZ-DELAVALLADE, Los Angeles and Paris
Project Native Informant, London
Galeria Raster, Warsaw
Rental Gallery, New York
Residency Art Gallery, Los Angeles
Roberts Projects, Culver City
Kenny Schachter, London
Jessica Silverman Gallery, San Francisco
Soft Opening, London
Thomas Solomon Art Advisory, Los Angeles
Sweetwater, Berlin, Berlin
Rachel Uffner Gallery, New York
Volume Gallery, Chicago
Galerie Barbara Weiss, Berlin
Wentrup, Berlin
Kate Werble, New York
White Columns, New York
ZERO, Milan

“Frieze and Felix Turn Heads in Los Angeles.”

– Jori Finkel for TheNew York Times

SPECIAL PROJECTS SECTION
curated by William J. Simmons

Cruel Optimism

Cruel optimism, a term advanced by theorist and historian Lauren Berlant, “exists when something you desire is actually an obstacle to your flourishing.” In many ways, contemporary art exists in a state of cruel optimism. We expect so much of art, of representation, and yet it cannot ever fully articulate the dreams we have for ourselves and society, creating thereby a state of endless oscillation between hope and despair. There is always a space in between what we wish to say through contemporary art and what it actually says—sometimes it speaks more than what we intend, sometimes less. Especially important here is the potential for art to speak to activist concerns or identity politics. Representations of social activism have been endlessly empowering, as with second wave feminist art and emergent queer representational strategies, and yet, any representation of any struggle inevitably leaves out those who have yet to enter the aesthetic vernacular. Some might say as a result that representation is therefore inherently exclusionary, but the turn toward abstraction is equally enmeshed with cruel optimism—does abstraction simply represent our giving up, our reducing all difference to mere liminality or obscurity?

The artists in Cruel Optimism cherish the possibilities of artmaking, even as they recognize its limits—the impossibility of it enunciating the true complexities of desire, identity, experience, history, and even form. This is not to say that these artists are simply self-reflexive or ironic. Instead, they are simultaneously sincere and critical. They believe with abandon, even with the melancholy inherent in any engagement with the history of art.

PARTICIPATING ARTISTS

Luis Flores presented by Matthew Brown Gallery, Los Angeles

Deborah Kass presented by Kavi Gupta, Chicago

Math Bass presented by Tanya Leighton, Berlin

Ellen Berkenblit and Anne Collier presented by Anton Kern Gallery, New York

Eve Fowler and David Benjamin Sherry presented by Morán Morán, Los Angeles

Judy Chicago curated by Jill Soloway presented by Jessica Silverman Gallery, San Francisco

Carolee Schneemann , Betty Tompkins, and Martha Wilson presented by P•P•O•W, New York

Paula Hayes presented by Zero + Maria Cornejo

Hayden Dunham presented by Felix

Felix Leiter Casino Royale Quotes

Weirdo Night by Dynasty Handbag presented by Felix

CULTURAL PARTNERS

New Art Dealers Alliance (NADA), New York

ONE, ALL, EVERY., New York

“Frieze and Felix are now firmly rooted in LA, and Felix has expansionary plans beyond California, hopefully to a venue near you with more than a single method of egress and ingress.”

Kenny Schachter for Artnet News

Felix was co-founded by Dean Valentine and brothers Al Morán and Mills Morán. The fair’s mission is to create an intimate experience that prioritizes connoisseurship, collaboration, and community. A return to the hotel fair format, in the spirit of the storied Gramercy International Los Angeles at the Chateau Marmont, Felix grants galleries an efficient exhibition opportunity while offering the city’s collector-base intimate access and maximum flexibility. The informal setting allows for more extended conversations among collectors, dealers, and artists alike. In 2019, the inaugural edition of the fair welcomed a diverse creative audience, bringing in over 12,000 guests to experience galleries from Europe, North America, China, South Africa and Australia. The 2020 edition takes place February 13-16 at the Hollywood Roosevelt Hotel in Los Angeles.

©2020 Felix Art Partners Follow us on Instagram and Facebook

VISITOR HOURS

Thursday, February 13, 2020
Preview (Invitation only), 11am – 6pm
Public Preview, 6pm – 8pm

Friday, February 14, 2020
Public Access, 11am – 8pm

Saturday, February 15, 2020
Public Access, 11am – 8pm

Sunday, February 16, 2020
Public Access, 11am – 4pm

PURCHASE ADVANCED TICKETS

Buy Tickets on Eventbrite

PARKING

Valet Parking is available on-site at the hotel. There are multiple parking facilities within a one block radius of the hotel.

ADDRESS

The Hollywood Roosevelt
7000 Hollywood Blvd., Los Angeles, CA 90028

“Young artists chatted with famous dealers; people looked at each other’s work; older artists brought students around. Sentimental educations were in the offing. This is what art fairs ought to be.”

– Jerry Saltz for New York Magazine

56 Henry, New York
Adams and Ollman, Portland
Baik + Khneysser, Los Angeles
Nicelle Beauchene, New York
Michael Benevento, Los Angeles
Bortolami, New York
Brennan & Griffin, New York
Matthew Brown Gallery, Los Angeles
Bureau, New York
CANADA, New York
Chapter NY, New York
C L E A R I N G, New York and Brussels
Company Gallery, New York
Corbett vs. Dempsey, Chicago
Creative Growth, Oakland
DOCUMENT, Chicago
Galerie Frank Elbaz, Dallas and Paris
Empty Gallery, Hong Kong
Fomo Haber, Athens
James Fuentes, New York
Grice Bench, Los Angeles

Kavi Gupta, Chicago
Jack Hanley, New York
Institute of Contemporary Arts, London
Alison Jacques, London
Anton Kern, New York
KLEMM’S, Berlin
Carl Kostyál, London, Milan and Stockholm
Andrew Kreps, New York
Tanya Leighton, Berlin
Josh Lilley, London
LINN LÜHN, Düsseldorf
Lulu, Mexico City
M+B, Los Angeles
Marlborough, New York and London
Martos Gallery, New York
Nino Mier Gallery, Los Angeles and Köln
Morán Morán, Los Angeles
mother’s tankstation, Dublin and London
Neue Alte Brücke, Frankfurt
Nicodim, Los Angeles and Bucharest
P·P·O·W, New York

Parrasch Heijnen, Los Angeles
Patron, Chicago
Peres Projects, Berlin
PRAZ-DELAVALLADE, Los Angeles and Paris
Project Native Informant, London
Galeria Raster, Warsaw
Rental Gallery, New York
Residency Art Gallery, Los Angeles
Roberts Projects, Culver City
Kenny Schachter, London
Jessica Silverman Gallery, San Francisco
Soft Opening, London
Thomas Solomon Art Advisory, Los Angeles
Sweetwater, Berlin, Berlin
Rachel Uffner Gallery, New York
Volume Gallery, Chicago
Galerie Barbara Weiss, Berlin
Wentrup, Berlin
Kate Werble, New York
White Columns, New York
ZERO, Milan

“Frieze and Felix Turn Heads in Los Angeles.”

– Jori Finkel for TheNew York Times

SPECIAL PROJECTS SECTION
curated by William J. Simmons

Cruel Optimism

Cruel optimism, a term advanced by theorist and historian Lauren Berlant, “exists when something you desire is actually an obstacle to your flourishing.” In many ways, contemporary art exists in a state of cruel optimism. We expect so much of art, of representation, and yet it cannot ever fully articulate the dreams we have for ourselves and society, creating thereby a state of endless oscillation between hope and despair. There is always a space in between what we wish to say through contemporary art and what it actually says—sometimes it speaks more than what we intend, sometimes less. Especially important here is the potential for art to speak to activist concerns or identity politics. Representations of social activism have been endlessly empowering, as with second wave feminist art and emergent queer representational strategies, and yet, any representation of any struggle inevitably leaves out those who have yet to enter the aesthetic vernacular. Some might say as a result that representation is therefore inherently exclusionary, but the turn toward abstraction is equally enmeshed with cruel optimism—does abstraction simply represent our giving up, our reducing all difference to mere liminality or obscurity?

The artists in Cruel Optimism cherish the possibilities of artmaking, even as they recognize its limits—the impossibility of it enunciating the true complexities of desire, identity, experience, history, and even form. This is not to say that these artists are simply self-reflexive or ironic. Instead, they are simultaneously sincere and critical. They believe with abandon, even with the melancholy inherent in any engagement with the history of art.

PARTICIPATING ARTISTS

Luis Flores presented by Matthew Brown Gallery, Los Angeles

Deborah Kass presented by Kavi Gupta, Chicago

Math Bass presented by Tanya Leighton, Berlin

Ellen Berkenblit and Anne Collier presented by Anton Kern Gallery, New York

Eve Fowler and David Benjamin Sherry presented by Morán Morán, Los Angeles

Judy Chicago curated by Jill Soloway presented by Jessica Silverman Gallery, San Francisco

Carolee Schneemann , Betty Tompkins, and Martha Wilson presented by P•P•O•W, New York

Paula Hayes presented by Zero + Maria Cornejo

Hayden Dunham presented by Felix

Weirdo Night by Dynasty Handbag presented by Felix

CULTURAL PARTNERS

New Art Dealers Alliance (NADA), New York

ONE, ALL, EVERY., New York

“Frieze and Felix are now firmly rooted in LA, and Felix has expansionary plans beyond California, hopefully to a venue near you with more than a single method of egress and ingress.”

Kenny Schachter for Artnet News

Felix was co-founded by Dean Valentine and brothers Al Morán and Mills Morán. The fair’s mission is to create an intimate experience that prioritizes connoisseurship, collaboration, and community. A return to the hotel fair format, in the spirit of the storied Gramercy International Los Angeles at the Chateau Marmont, Felix grants galleries an efficient exhibition opportunity while offering the city’s collector-base intimate access and maximum flexibility. The informal setting allows for more extended conversations among collectors, dealers, and artists alike. In 2019, the inaugural edition of the fair welcomed a diverse creative audience, bringing in over 12,000 guests to experience galleries from Europe, North America, China, South Africa and Australia. The 2020 edition takes place February 13-16 at the Hollywood Roosevelt Hotel in Los Angeles.

Felix Canout

©2020 Felix Art Partners Follow us on Instagram and Facebook