Issue 118 October 2008
Open Studio
Artist Olafur Eliasson’s forthcoming professorship at Berlin’s Universität der Künste will be an experiment in art education
Play Write
Quotation: ‘The act of repeating erroneously the words of another’
Janice Kerbel
In an ongoing series frieze asks curators, artists and writers to list the books that have influenced them
147 orbiting 1 through 6 for 5
Paul Schütze (free download)
What Price Fame?
The art market, insider trading and judging greatness
Time Travel
Ilya Kabakov’s return to Russia and Moscow’s refurbished Pushkin Museum
The Liquid Page
Tate Britain, London, UK
Port Huron Project 5: The Liberation of Our People
Mark Tribe, West Oakland, California, USA
Great Vacancy
Andrea Winkler, Hotel Alpenhof, Oberegg, Switzerland
The John Baker Tapes: Volumes 1 and 2
John Baker (Trunk Records, 2008)
Portal
Alexander Tucker (ATP Recordings, 2008)
Duncan Campbell
In an ongoing series, frieze asks artists and filmmakers to list the movies that have influenced their practice.
Trans-Siberian Express
Recent developments in Russian and Chinese contemporary art
Time to Speak
Translation and political subjectivity in the work of Julia Meltzer and David Thorne
Coast to Coast
A new, expanded edition of Lawrence Weschler’s classic, Seeing is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin is a cause for celebration
Architecture of the Off-Modern
Svetlana Boym (Princeton Architectural Press, 2008)
The Book of Dreams
Federico Fellini (Rizzoli, New York, 2008)
The Book of Dead Philosophers
Simon Critchley (Granta, London, 2008)
Unsung Heroes
The strange and wonderful world of gallery assistants
Ayse Erkmen
Ayse Erkmen is an artist who lives and works in Istanbul and Berlin. Her solo exhibition at the Hamburger Bahnhof in Berlin runs until 11 January 2009, and her exhibition at K21 in Dusseldorf opens on 8 November 2008. She is also currently participating in the 7th Shanghai Biennale and the 2008 SCAPE Christchurch Biennial of Art, New Zealand.
Kehinde Wiley
Portraits, patterns and fashion; post-colonialism and mortality
Kitty Kraus
Identical dimensions and precarious constellations
Tania Bruguera
Cuba, performance and society’s relationship to its history
Will Holder
Publishing as an act of performance; the materiality of language
Is F for Fake?
What exactly do we mean when we call an artist or writer a charlatan?
‘Seizure’ by Roger Hiorns
In a new section, frieze examines the evolution of an art work. First up: a commission that involved the artist filling a condemned building with 90,000 litres of chemical liquid
‘… In the Cherished Company of Others …’ by Marc Camille Chaimowicz
A new work is a retrospective, of sorts
‘Spiteful of Dream’ by Jane and Louise Wilson
The artists employ voices for the first time in an installation that comprises film, sound and kinetic elements
‘Half Full – Half Empty’ by Barbara Bloom
The artist’s first web-based project began with the barest of ideas: that two people would be having a conversation, and that their relationship would be revealed indirectly
Seeing is Believing
For more than 50 years, Bridget Riley has conducted an endlessly enriching inquiry into the relationships between form, composition and visual perception
The Good, the Bad and the Ugly
This piece proposes five reasons why the art world is a desperate mess, followed by five responses. The piece is a trick. Do not read the conclusion until you've read the rest
The Producer
Seth Price’s exploration and manipulation of music, writing, publishing, plastic, curating, discursive performance, exhibition formats and video- and film-making
Look, again
For 20 years Wolfgang Tillmans’ photography has been a sustained meditation on observation, perception and translation. His most recent major exhibition, ‘Lighter’, was held at the Hamburger Bahnhof, Museum für Gegenwart, in Berlin. He talked to Dominic Eichler about intimacy, objects, community and politics, abstraction and representation
Decoys, Complexes and Triggers
The Sculpture Center, New York, USA
By Jenni Sorkin
Our Future
Ullens Centre for Contemporary Art, Beijing, China
By Martin Herbert
Games & Theory
South London Gallery, London, UK
By Jonathan Griffin
Yayoi Kusama
Museum Boijmans van Beuningen, Rotterdam, Netherlands
By Douglas Heingartner
Olafur Eliasson
Various sites, New York, USA
By James Trainor
Jay Chung & Q Takeki Maeda
Cubitt, London, UK
By Dan Fox
everstill/siempretodavía
Huerta de San Vicente, Granada, Spain
By Jennifer Higgie
Jeff Koons
Metropolitan Museum and Museum of Contemporary Art, New York / Chicago, USA
By Morgan Falconer
Andrew Byrne & Tom Nicholson
Media Art Bath at the Holburne Museum, Bath, UK
By Chris Fite-Wassilak
Sharon Hayes
Museum of Modern Art, Warsaw, Poland
By Małgorzata Charyło
Not So Subtle Subtitle
Casey Kaplan Gallery, New York, USA
By Kristin M. Jones
Rubens Mano
Pinacoteca do Estado, Sao Paulo, Brazil
By Fabio Cypriano
Barnaby Furnas
Stuart Shave/Modern Art, London, UK
By Michael Bracewell
Ricarda Roggan
KW Institute for Contemporary Art, Berlin, Germany
By Christy Lange
Jack Strange
Tanya Bonakdar Gallery, New York, USA
By Joanna Kleinberg
Richard Woods
Milton Keynes Gallery, Milton Keynes, UK
By Andrew Hunt
Geta Bratescu
Galerie im Taxispalais, Innsbruck, Austria
By Burkhard Meltzer
Public Farm One
P.S.1 Contemporary Art Center, New York, USA
By Kristin M. Jones
Kay Rosen
Ingleby Gallery, Edinburgh, UK
By Sarah Lowndes
Eske Schlüters
Kunstverein für die Rheinlande und Westfalen, Dusseldorf, Germany
By Catrin Lorch
Mary Ellen Bute
Sketch, London, UK
By Melissa Gronlund
Ergin Çavusoglu
Kunstverein Freiburg, Freiburg, Germany
By Michael Hübl
The Great Transformation
Frankfurter Kunstverein, Frankfurt, Germany
By Amanda Coulson
Buckminster Fuller
Whitney Museum of American Art, New York, USA
By Bradley Horn
Kori Newkirk & Miguel Angel Rios
LA>
By William Gass
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