Clio Art Fair September 2025 – Two-Weekends of Independent Art
- Art Dealer Street
- Sep 30
- 5 min read
Clio Art Fair returned to Chelsea in a big way, presenting back-to-back editions on September 4–7 and 18–21, 2025. Each weekend featured a completely new roster of 35+ self-represented artists and collectives, offering a fresh and diverse experience for collectors and the public. This isn’t your typical high-end fair: instead Clio champions authenticity, direct artist–visitor connections, and discovery. As The New York Times put it, Clio is “one of ‘3 Browsers’ Delights Among the Art Fairs in NYC’” – a must-see event that spotlights what’s new and exciting in contemporary art.
Breaking the Fair Mold
Clio’s mission is to empower artists without gallery representation, and it shows. The fair’s press release emphasizes Clio’s supportive, inclusive environment – “democratic and inclusive,” with each artist given their own space and no cookie-cutter booths. Organizers even design the layout to respect the architecture of the venue, preserving an intimate, studio-like atmosphere. Unlike other fairs where attendees rush island to island, Clio encourages lingering and conversation. It’s a small, artist-centric fair by design: “we proudly still are a small and intimate fair, in opposition to the infinite isles of blue-chip fairs,” the press release notes.
Two Weekends, One Fair
The September 2025 editions operated on the same schedule each weekend. VIP and press previews ran Thursday nights (Sept 4 & 18, 6–9pm) by ticket ($35, valid for two people), followed by free public hours on Friday–Sunday. General admission was free on both weekends (Fri 5–6pm: 12–8pm; Sat 6: 12–8pm; Sun 7: 12–6pm on week 1, and similarly Sept 19–21 on week 2). This open-access approach underscores Clio’s democratic spirit: anyone can wander in, browse the art, and meet the artists. In total the fair showcased 150+ artworks by over 35 artists each week, with prices ranging from $50 up to $150,000. That means bargains and investment pieces side by side – from low-cost prints and zines to large-scale paintings and installations. The result was a bustling two-week art party in Chelsea, full of fresh talent and great value.
Spotlight on Artists
Clio’s strength is its roster. The participating artists spanned mediums (painting, sculpture, photography, digital, installation, and more) and backgrounds (from Iran to Italy to Japan). For example, Ami Park (b. 1991, South Korea) is a Bronx-based installation artist whose fiber and yarn works explore the “vibrations” between the human mind and the material world. In her recent Bronx Museum project, Ami turned rope and textiles into immersive narratives of identity and self-awareness. Another highlight was Nieves Saah, a Spanish-born painter who layers thick palette-knife strokes in her canvases. Raised in Bilbao, Saah’s vibrant, textured abstracts draw on both Basque color traditions and her global travels, expressing personal stories with raw emotion. German artist Torsten Trantow (b. 1975) brought a different flavor: his richly coloured paintings contrast urban grit and graffiti with rural calm. His canvases pulse with energy and reflect the texture of city walls – a perfect fit for Clio’s edgy vibe.
These are just a few examples from Clio’s line-ups. Over the two weekends the fair presented a huge international cast. Week 1 (Sept 4–7) featured artists such as Paula Blaschke (San Antonio), Michelle Fitzpatrick, Pearl Fine Art (NYC), Andrea Schuster (Argentina), Isabel Carafi (Italy), Sherwin Cadore (Trinidad Tobago/NY), Christina Legere (USA), Haneen Alkenany (Iraq/NY), Rick Secen, Taeree Park (South Korea/Queens), Daphne Anastassiou (Greece/NY), Trinidad Bascuñán Oviedo, Margaret Koval (US/UK), Nobuko Saji (Japan/NY), Megan Emily Ely, Minxuan Zhao (China/LA), Juan Murcia (Miami), Yi-Chiao Chen (Taiwan/NY), Dewei Zhao (China/NY), Anne Hefer (Germany), and more.
Week 2 (Sept 18–21) included HuesbyPM (Pankti Mehta, India/PA), Devora Cañada Rodríguez (Canary Islands), Uchenna Obinabo-Mabazza (Nigeria/NY), Cathy Jolicoeur (Canada/Montreal), Marni Rothman (USA/CA), Atom Hovhanesyan (Armenia/NY), Nikolas Gekko (Ukraine/WA), Jakupsil Collective (NYC-based duo), Alena Gojak (Bosnia), Julian Starks (USA), Mary Lai (South Korea/LA), Robert Horansky (USA), Tslil Tsemet (Israel/NY), Scarlett Lingwood (UK/NY), and others. Special invited guests added star power: Ami Park (again), Amparo Garzón (Colombia/FL), Daniel Rosenbaum (USA), Deborah L. Morris (Jersey City), Katherine Miranda (USA), MJ King (USA), and Nieves Saah (Spain/NY) joined as featured artists or luminaries. Together these voices – spanning five continents and many generations – created a global mosaic of perspectives.
“Another Brick in the Wall”: Performance Art
In addition to studio work, Clio staged a punchy performance series under the banner “Another Brick in the Wall.” This thematic program asked hard questions: how do artists navigate the walls of the digital age? In the press kit Clio explains that our “walls” today are not only physical but “cognitive, emotional, and ideological,” built by algorithms and screens. The artworks were framed as acts of “individualism” against monotony, in Oscar Wilde’s words. The performances probed these ideas head-on. For example, Gabrielle Meyerowitz performed Mobile Confessional, carrying a mirror and smartphone to turn gallery corners into intimate confessionals. Tani B. Burwell offered “The Plight of a Magical Girl,” a live act riffing on anime and mother-daughter roles to question empowerment. Other pieces included ama of MetallicFern’s “Do You Hear her?” and Analia Farfan’s “Infidencias” (both debuted Sept 18). These performances – from multimedia confession booths to burlesque/superhero mash-ups – injected an interactive, thought-provoking element into the fair. By evening’s end, visitors weren’t just spectators; they were part of the dialogue about art, community and connection.
Democratic, Diverse, Ready for the Future
Clio’s organizers pride themselves on the fair’s unique ecosystem. There are no corporate mega-booths to intimidate visitors – instead, each artist’s mini-exhibit feels like a friendly studio visit. Because the fair is small and intimate, even new collectors feel welcome to chat with creators over coffee. This “no-frills” approach has earned praise: Artnews noted that Clio offers a tonic to the usual gallery mindset, while Artforum and other outlets have highlighted its must-see status. Clio also partners with tech-forward platforms like Singulart to support artists’ careers. Importantly, the demographic is broad – men and women, all ages and backgrounds – reflecting Clio’s commitment to inclusivity. In short, Clio feels more like a collaborative festival than a cutthroat market.
As Hyperallergic wrote:
“Contemporary art, in recent years, has become an exclusive world, where artists are too often reduced to begging for elite approval,” Berni said. “We believe the great artist of the future will go underground, will remain clandestine, someone who creates because they obey an unshakable inner will. Success and wealth should count for nothing.”
Why Clio is a Must-See
By the end of September, Clio had once again proved itself the place to discover new art during NYC’s fall season. Critics have praised the fair for a “supportive and welcoming environment” and for offering an “outside-of-the-box perspective” on contemporary work. It’s a fair where you can have a five-minute conversation with an artist, stumble on an unexpected gem, and truly savor each piece – unlike the blur of bigger fairs. As the press release reminds us with a quote by Philippe Daverio, art deserves more than a quick glance. At Clio, visitors stayed awhile, engaging with art on their own terms.
All told, Clio’s double-edition fair was a celebration of independent spirit. Nearly 150 works, dozens of participants, and a bold performance program combined into an art lover’s feast. The energy was welcoming and inspiring, from the grassroots ethos to the high production values. For collectors, curators and curious newcomers alike, Clio Art Fair September 2025 was not just another stop on Art Week – it was a reminder that true discovery often happens off the beaten path. Don’t miss what comes next at Clio!