Esther II and Conductor exhibitions offer an alternative to Frieze New York

It is easy to get this New York Art Week in the Frieze and Tefaf team of everything, with their blue artists in the chip, their huge opposition, and seven numbers sales. But away from the well destroyed lake in The SHED and Park Avenue Armory, two smaller exhibitions, Esther II and Mosul offer a refreshing stimulant for rebel art lovers.

In Murray Hill, Esther II, which continues until Saturday, returned to the second version. SCRAPPY art gallery returns to the Estonian home, which flourishes on East 34 Street, fills its major halls, club halls, and loud wooden platforms with facilities, shows and events for complimenting 25 exhibitions, from 17 cities.

Like a hotel gallery, the works shown here are placed at every corner: inside the stoves, on a downward staircase, above the elegant large piano. The exhibition section of structural art is one of the second floor rooms in two parts, with display halls hanging on both sides. The preparation is unexpectedly charming – look at a plate, and through a number of square breakers in the wall, you may hint on someone on the other side, framed like working themselves while they are completely different.

The exhibition was founded by two opponents: Margot Samil, Olga Timinikova, based in Tribika, which is half of Timenicova and Casilla in Tallinn, Estonia. Together, they collected a global slice of the art world, with participants from Tokyo, Budapest, Paris and Poland. New York is a good actress as well: James Fuentes, Tara Downs, and Post times, which are clothes less than two years on the eastern side.

It is the first exhibition of any type in post Times, which shares a kiosk with the Estonia -based Tartu exhibition. “I came last year and it was a great-tedbi, international, but with great local names,” said BROC Blegen Founder. “As a new exhibition, it gives verification of the health of some of their university.”

Publishing times brought work by Nate Flagg, who had a single at the exhibition last September, and Jeremy Deprez. DEPREZ-a suspended statue of a random folded giant tube-is only the correct tone: elegant and well manufactured, but does not take itself seriously.

In the adjacent room, two of life are protected by Matthew Watson, which was attended by the Laurel Gectlin exhibition. The works were drawn on sheets of copper, and they feel personal work without turning into emotion. Each of them begins with a visit to an artist, secretary, or merchant’s house, where Watson depicts everything that draws his attention using a 4 x 5 width camera.

At the bottom on the bottom floor, the Estonian designer Levi sew the brand shirts on the site, with a variety of designs printed on the screen on the screen on the screen, back and shirt sleeves.

Through the East River in Guanus, Mosul, which continues until Sunday, appeared for the first time in the category-like art complex-a 117-year-old power plant with ceilings that seem to get rid of clouds and pre-concrete walls. The exhibition, supported by Powerhouse, is designed by the artists and their exhibitions from all over the world south and its diaspora, while working at the Amanda Vigodipakia, Khaled Jarrar, Modubiola Vadogba, and the original Brazilian Mahko Group.

But what distinguishes Mosul is not just a coordinated lens – it is the model. Artists are invited to manufacture work on the site using extensive production facilities in PowerHouse, and the costs of shipping significantly and open the door to new commissions and reasonable versions.

Phingbodhipakkiya’s While her hands move, her heart beats in the rhythm of monsoon winds (2024) is among the most prominent exhibition. The artist, who is based in Brooklyn, depends on her headquarters, which extends to sculptures, textiles, murals and participatory facilities, on her Thai and Indonesian heritage to explore memory, care and society.

Wide sculpture is constructing an Azate tradition in Thailand countryside. The crimson knot leaked from the bamboo ships that were once used to cultivate the cellar worm, and form an archived archive of the ancestors. These evil fibers such as Forged Flor also cause seasonal rhythms and femininity rhythms. The piece was developed after months of research in the Northern Thai societies, and it talks about scarcity and abundance, the supervision of nature, and the transfer between generations of wisdom.

Manufactured in Powerhouse Arts, the work first appeared in Art Basel Miami Beach last year. “The power was my first call in terms of searching for manufacturing support,” said Phingbodhipakkiya. ARTNEWS. “They really understand that manufacturing is not only logistical – it is spiritual, emotional and community.

Between its focus on the global south and the support of its manufacturing through sculpture, ceramics and the printing industry, it makes the art world in New York feel new to reach artists from India, Latin America and Africa, who may have felt that shipping to the United States was financially or political. Mosul is a place to identify emerging exhibitions that may be very green to participate in the traditional art galleries circuit.