When Frieze London opened in 2003 it had a pretty clear vision: to create a platform where commercial galleries (big and small, blue-chip and emerging) could present their artists side by side, while offering audiences a chance to encounter new voices through curated sections.
Over the past two decades, the fair has become one of the most influential events in the global art calendar, not only as a marketplace but as a cultural barometer. Today, Frieze has expanded into a year-round network of fairs — from Los Angeles and New York to Seoul and now Shanghai — competing with Art Basel, Paris+ and a growing number of regional events for artists, galleries and collectors.
Born in the suburbs of Paris and educated in economics and art history, Langret began her career working with galleries and institutions committed to underrepresented voices—an experience that continues to inform her belief in art as a space for equity, experimentation and exchange.
Since joining Frieze in 2019 — first as director of Frieze London and now as director for Europe, the Middle East and Africa — Eva Langret has leaned further into this dual role, balancing commercial weight with curatorial experimentation and positioning the fair as a space for dialog at a time when the arts carry renewed urgency.
I caught up with Langret ahead of the 2025 Frieze London to discuss her approach—from giving more space to smaller galleries to how art can foster openness and safeguard discourse in turbulent times.
Nargess Banks: You’ve been with Frieze since 2019, first leading Frieze London and now overseeing Europe, the Middle East and Africa as director. How has your vision for the fair evolved over time?
Eva Langret: When I joined Frieze in 2019, my focus was on deepening the fair’s relationship with London’s creative communities, artists and institutions, while ensuring it remained an international convening point. Over the past six years, the art world has changed significantly, and Frieze has evolved with it. We’ve seen an incredible expansion of galleries across the city, both young and established. My vision has increasingly centered on connection and sustainability: nurturing the ecosystem that allows art to flourish. Today, Frieze London stands as both a reflection of London’s creative energy and a global stage for discovery, dialog and ambition.
NB: With diversity and representation central to your approach, how do you ensure these values genuinely shape the structure of the fair?
EL: Diversity isn’t something to add on, it has to be embedded into the DNA of how the fair is curated, who participates and what stories are told. This means working with advisors, curators and galleries who bring truly global perspectives. For example, this year’s section “Echoes in the Present,” curated by Dr Jareh Das, brings together artists such as Diambe, Bunmi Agusto and Tadáskía from Brazil, Africa and their diasporas to explore material, memory and shared histories.
Initiatives like “Artist-to-Artist,” returning for its third edition and sponsored for the first time by Tiffany & Co., also give established artists the space to platform exciting emerging voices such as T. Venkanna, Ana Segovia and Ilana Harris-Babou. Representation extends beyond programming. It’s about who sits at the table when decisions are made. Our team reflects the diversity we hope to see in the wider art world.
NB: The arts play a powerful role in turbulent times, creating spaces for dialog and debate. Given today’s global political climate, what can open and independent fairs such as Frieze do to help protect freedom of expression, and to champion progressive ideas?
EL: Art fairs can act as civic spaces, temporary but vital domains for ideas to be exchanged freely. Frieze brings together people from across borders, disciplines and perspectives. Our role is to create a platform where complex, even uncomfortable conversations can take place through art.
Supporting artists and galleries who take risks is part of protecting that freedom. It’s also about safeguarding the infrastructures that sustain cultural dialog: giving visibility to nonprofit organizations such as Gasworks, Art Fund and Nottingham Contemporary ensuring fair representation, and fostering mentorship between generations.
NB: Since its launch in 2003, Frieze has grown into a powerful global brand. At the same time, the landscape of contemporary art has expanded beyond imagination. With so many competing international fairs, how do you position Frieze?
EL: Frieze has always been defined by its curatorial energy and intellectual curiosity. What distinguishes us is the balance we maintain between commercial strength and cultural depth. It’s not only a place to encounter art, but also a space for ideas to circulate. Our curated sections, artist-led programs, and partnerships with institutions ensure the fair feels alive and relevant.
London’s position as the world’s second-largest art market gives Frieze a unique edge, but our identity also comes from being part of the city’s fabric. In a global landscape of fairs, Frieze remains both a destination and a laboratory for the future of contemporary art.
NB: In recent editions, you’ve been placing a stronger emphasis on younger galleries and emerging voices. How do you see their role in shaping the future of art fairs?
EL: Emerging galleries take risks, introduce new ideas, and challenge established hierarchies. Following last year’s successful redesign, the “Focus” section, which is dedicated to emerging galleries up to 12 years old, will continue to place young galleries at the front of the fair, ensuring visitors encounter new voices immediately. We’re also excited to welcome several first-time exhibitors at Frieze London including a. Squire, Bombon, Coulisse, Cylinder, Gathering and many more.
Over the years we’ve worked hard to not just include them but to give them visibility and support at the heart of Frieze. But it’s also about continuity: mentoring these galleries as they grow and ensuring that the infrastructure of the fair adapts to their needs.
NB: Frieze London has always felt both global and distinctly local. As director for Europe, the Middle East and Africa, how do you navigate that balance ro ensure London’s cultural identity shines through while maintaining the fair’s international scope?
EL: London’s art scene thrives on exchange between cultures, generations and disciplines. Our role is to amplify that energy while connecting it to global conversations. Each year we welcome galleries from over 40 countries, yet so much of what defines Frieze is local: the young galleries in East London, the institutions that anchor the city, the collectors and artists who call it home. By foregrounding London’s creative ecosystem, we ensure that the fair feels both cosmopolitan and authentically grounded. London’s identity is global by nature, and that’s our greatest strength.
NB: With the environmental impact of major art fairs is increasingly under scrutiny, how do you define sustainability in this context, and how is Frieze putting that into practice?
EL: Sustainability is a key strategic priority for Frieze and runs through every aspect of our fairs, from operations and infrastructure to programming and partnerships. We’re working with galleries and collaborators to reduce our environmental impact and share best practices across the arts sector. This year, we’re supporting a new initiative from the Gallery Climate Coalition (GCC) to mark their fifth anniversary.
We’ve conducted a full audit of our environmental footprint and are reducing carbon emissions across production, travel and logistics. Our tent now uses more reusable materials and modular structures to cut waste, alongside new measures for greener freight and fewer single-use plastics.
For us, sustainability also means social and cultural responsibility, ensuring fair pay, building equitable partnerships, and supporting communities. Progress is ongoing, but our goal is to make Frieze a model for how a global event can operate responsibly and transparently.
Frieze Contemporary and Frieze Masters is at Regent’s Park London from October 15 to 19, 2025.
Read about the exciting work of Claudia Alarcón & Silät, which will be at Cecilia Brunson Projects at Frieze London, and see some of the other exhibitions opening in London this fall including Peter Doig at Serpentine gallery.