Issue 119 Nov-Dec 2008
Debit and Credit
How to stop worrying and love the ‘content crunch’
My Brilliant Career
Livid at not being included in ethnographer Sarah Thornton’s book Seven Days in The Art World (Granta, 2008), curator Jean-Philippe Obu-Stevenson has paid frieze an undisclosed sum to publish the following exclusive extract from the preface to his forthcoming sociological bodice-ripper Don’t You Know Who I Am? Actualizing Myself in the Art World (Editions Obu-Stevenson, Schiphol Airport, Amsterdam, 2009)
Courage and Convictions
The first India Art Summit prompted timely debates about artistic freedom on the subcontinent
Work it Out
Keeping fit, autonomy, disappointment and art criticism
Not so Black and White
Are reproductions of art works helpful, or do they confuse our experience of the real thing?
A Life in Letters
The tragic death of David Foster Wallace has robbed the world of a writer who brilliantly reflected upon the joys and complications of both language and living
That’s Life!
A re-print of General Idea’s radical, now defunct FILE Megazine celebrates its idiosyncratic brilliance
The Wrong Note
How Western pop music is being used as ‘touchless torture’ by the American military
Monika Baer
In an ongoing series frieze asks curators, artists and writers to list the books that have influenced them
Clio Barnard
In an ongoing series, frieze asks artists and filmmakers to list the movies that have influenced their practice
BCD-2
Basic Channel (Basic Channel, 2008)
Studies for Player Piano
Conlon Nancarrow (Other Minds, 2008)
The John Peel Sessions
Magazine (Virgin/EMI, 2008)
The Broken World
Tim Etchells (Heinemann, London, 2008)
Canvases and Careers Today: Criticism and Its Markets
eds. Daniel Birnbaum and Isabelle Graw (Sternberg Press, Berlin and New York, 2008)
The Language of Things
Deyan Sudjic (Penguin, London, 2008)
This Filthy World
John Waters, Hammersmith Apollo, London, UK
ANGER/NATION
Radiohole, The Kitchen, New York, USA
Institut im Glaspavillon
Berlin, Germany
On Making Pictures
Glaswegian novelist and artist Alasdair Gray answers questions from frieze about his approach to art, life and literature
The Embarrassing Truth
The elegant aesthetic of Matthew Brannon’s pictures and sculptures belies a witty, acerbic take on the human condition
‘Harpstrings and Lava’ and ‘Minotaur’ by Daria Martin
Two new films, influenced by a friend’s childhood nightmare and a choreographer, which grew from collaboration and improvisation
You and Me
From participatory projects to socially mindful curating, Harrell Fletcher explores the role art plays in human relations
Bili Bidjocka
Begonias, the lure of travel, endless writing and an unfinished book
Natascha Sadr Haghighian
Institutional critique and collective authorship; money, fruit and Robbie Williams
Harry Dodge and Stanya Kahn
Videos, hoods, a ‘period eye’; surrealism and surveillance
Athanasios Argianas
Sound and form: grasshoppers, vocal canons and communicating with the dead
After and Before
Political engagement in art from the USA and Silvia Kolbowski’s ambitious new work
Shape Shifter
Ambiguity, concealment and eroticism lurk in the shadows of Victor Man’s paintings and installations
Naples
Despite massive problems including organized crime, a chaotic infrastructure and an inability to deal with its rubbish, Naples offers much in the way of a thriving contemporary art scene, breathtaking architecture and extraordinary food
Here, There and Everywhere
Melik Ohanian’s aim to ‘question the operative mode of the exhibition’ is apparent in his complex, multimedia project which recently opened in 15 venues across Paris
Annika Ström
After 12 years in Berlin, Swedish artist Annika Ström now lives in Hove, UK. Her new monograph annika ström live!, edited by Christophe Boutin and published by Fälth & Hässler and onestar press, is out now. She has recently had solo shows at c/o Atle Gerhardsen, Berlin, and Uddevalla Konsthall, Sweden and her exhibition at Lautom Contemporary, Oslo, runs until 7 December. Her work is also included in the group shows ‘Intimacy’ at ACCA, Melbourne, until 30 November, and ‘Sonic Voices, Rocking Hard’, at the Netherlands Media Art Institute, Amsterdam, until 2 November. She is currently working on her first feature-length script.
Metal Works
Richard Serra’s new show of monumental sculptures heralds the artist’s first exhibition in London for 16 years. In a rare interview, he talked with Adrian Searle about the evolution of his ideas and his plans for the future
7th Shanghai Biennale
Various venues, Shanghai, China
By Carol Yinghua Lu
Liverpool Biennial 2008
Various venues, Liverpool, UK
By Martin Herbert
After Nature
New Museum of Contemporary Art, New York, USA
By Steven Stern
Dorothy Iannone
September Gallery, Berlin, Germany
By Dominic Eichler
Eric Bainbridge
Middlesbrough Institute of Modern Art, Middlesbrough, UK
By Jonathan Griffin
Against the Grain
Los Angeles Contemporary Exhibitions, Los Angeles, USA
By Christopher Bedford
3rd Guangzhou Triennial
Guandong Museum of Art, Guangzhou, China
By Saskia Draxler
U-TURN Quadrennial for Contemporary Art
Various venues, Copenhagen, Denmark
By Lars Bang Larsen
Diego Teo
Sala de Arte Público Siqueiros, Mexico City, Mexico
By Jessica Berlanga Taylor
Fiona Hall
City Gallery Wellington/Museum of Contemporary Art, Wellington, New Zealand / Sydney, Australia
By Nicola Harvey
Charles Avery
Parasol Unit, London, UK
By Chris Fite-Wassilak
In the Desert of Modernity
Haus der Kulturen der Welt, Berlin, Germany
By Daniel Miller
Sarah Morris
White Cube, London, UK
By Martin Herbert
Still Moving Image
Devi Art Foundation, Gurgaon, India
By Devika Singh
Corin Sworn
ZieherSmith, New York, USA
By Morgan Falconer
It’s Not Only Rock ‘n’ Roll, Baby!
BOZAR Centre for Fine Arts, Brussels, Belgium
By Douglas Heingartner
Iain Forsyth and Jane Pollard
Kate MacGarry, London, UK
By Conor Carville
Street Level
Institute for Contemporary Art, Boston, USA
By Sarah-Neel Smith
Alexander Heim
doggerfisher, Edinburgh, UK
By Kate Forde
Martin Beck
Gasworks, London, UK
By Ian Hunt
Margaret Salmon
STORE, London, UK
By Bettina Brunner
Meredyth Sparks
Elizabeth Dee, New York, USA
By Graham T. Beck
Not Quite How I Remember It
The Power Plant, Toronto, Canada
By Benjamin Carlson
Implant
UBS Art Gallery, New York, USA
By Anne Wehr
Cold War Modern
Victoria and Albert Museum, London, UK
By Simon Rees
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