Frieze Magazine | Archive

Issue 115 May 2008

When patrons wrestle power from museum curators and directors, what does it mean for the public? by Robert Storr

More Than A Feeling

A Cover-Up?

The ‘hand-bra’ technique as a metaphor for rhetorical self-reflexivity in the arts by Tirdad Zolghadr

State of the Art

Errant Children

Can a piece of writing ever precisely convey what the writer wants it to? by Jan Verwoert

Music

Into the Wild

In the music of his techno project Gas, Wolfgang Voigt drew on Romantic landscape and classical music as much as technological minimalism by Simon Reynolds

Some Rules

Thirty-five forms of contemporary creation, or how to identify an art work by Aaron Schuster

Ideal Syllabus

Nicolas Bourriaud

The first in a new series, in which frieze asks curators, artists and writers to list the books that have influenced them

Laughter, Tears and Rage

Instant Wonder

The sophistication of Polaroid technology was not enough to save it from obsolescence – or nostalgia by Brian Dillon

Life in Film

Life in Film: Mark Leckey

In an ongoing series, frieze, asks artists and filmmakers to list the movies that have influenced their practice.

Books

Edible Estates

Fritz Haeg (Metropolis Books, New York, 2008) by Bradley Horn

Books

The Rest is Noise

Alex Ross (Farrar, Straus and Giroux, New York, 2007) by Paul Kildea

Books

The Intangibilities of Form

John Roberts (Verso, London, 2007) by Belinda Bowring

Music

The Mandé Variations

Toumani Diabaté (World Circuit, 2008) by Jace Clayton

Music

Vampire Weekend

Vampire Weekend (XL Recordings, 2008) by Klaus Walter

Music

Nigeria Special

Part 2: Modern Highlife, Afro-Sounds & Nigerian Blues: 1970–6 (Soundway, 2008) by Sam Thorne

Events

Stephen Prina

The Second Sentence of Everything I Read Is You, Park Avenue Armory, New York, USA by Morgan Falconer

Events

Prospectif Cinéma

Pompidou Centre, Paris, France by Vivian Rehberg

Events

Adam Curtis

Whitechapel Art Gallery, London, UK by Dan Fox

Film

Almost Blue

The release of the film Chromophobia raises questions about authorship and appropriation by David Batchelor

Monograph

Ways of Seeing

Marine Hugonnier’s films explore what the artist describes as an ‘anthropology of images’ by Lars Bang Larsen

Monograph

Second Life

Brian Griffiths’ installations and sculptures drag their historical baggage towards an imaginary future by Jonathan Griffin

Monograph

Motion Pictures

Mark Lewis’ meditative films fuse pictorial tradition with the art of movement by David Campany

Monograph

Access All Areas

Taryn Simon’s photographs of restricted locations reveal an unsettling side to the American Dream by Christy Lange

Monograph

In the Hands of God

Kris Martin’s explorations of faith and time employ myriad materials – from departure boards and novels to classical sculptures and watches by Jens Hoffmann

Focus

Nicholas Hlobo

Phalluses, saddles and South Africa; handmade costumes and the Xhosa language by Sean O’Toole

Focus

Jimmy Robert

Touch and appropriation; film, dance and gesture by Kirsty Bell

Focus

Li Dafang

Abandoned factories and sad machinery; fantasy, reality and ambiguity by Carol Yinghua Lu

Focus

Tatiana Trouvé

Something from nothing: decorated offices, reclaimed land, hope and anticipation by Vivian Rehberg

Monograph

Looking Out

Rosalind Nashashibi by Martin Herbert

City Report

From frontier town to multicultural metropolis, the second-largest Australian city embraces a grass-roots approach to culture that weaves the experience of contemporary art into everyday life by Max Delany and Nicola Harvey

Questionnaire

Manon de Boer

Manon de Boer is an artist based in Brussels. For the occasion of her recent solo exhibition ‘The Time that is Left’ at the Frankfurter Kunstverein and a solo exhibition at Witte de With, Rotterdam, a catalogue on her work, titled The Time that is Left, will be published in June 2008. Her work is currently on display as part of the Berlin Biennial 2008.