frieze

Issue 87 November-December 2004

View from the Bridge

View from the Bridge

When colour theory is no longer enough by Robert Storr

Architecture

Another Brick in the Wall

Six years ago the run-down Kingsdale School in south London was threatened with closure - until architects dRMM were invited to help with its regeneration; they later invited artist Joep van Lieshout to contribute to the scheme.

Books

Molotov Cocktails

Tom Wolfe’s 1970 essay ‘Radical Chic’ explores the decadent relationship between wealth, glamour and extremist politics – and is as relevant today as it was 34 years ago by Michael Bracewell

State of the Art

State of the Art

When is art political? by Dan Fox

Interview

Language Factory

An interview with Mel Bochner on words, portraits, Roget’s Thesaurus, colour, Jorge Luis Borges, humour, nostalgia and political engagement by Mark Godfrey

Monograph

Mirror, Mirror

Joanne Tatham and Tom O’Sullivan’s sculptures, installations and performances mine the space between what you want from something and what that something has to give by Tom Morton

Focus

Bjorn Dahlem

Last year the Hubble Space Telescope took a long, hard, deep look at what appears to be a nearly empty spot inthe night sky near the constellation Fornax by Dominic Eichler

Focus

Saskia Olde Wolbers

She is a mightly fabulist, an artist who creates vast and lanyrinthine worlds which she uses as settings for miasmic tales of longing and delusion by Marcus Verhagen

Focus

Nina Konnenmann

Her videos gently unhinge your sense of time and space. No special effects are used, and all the actions shown are real events, none of them what you might call spectacular by Jan Verwoert

Focus

Anthony Burdin

One of the extraordinary things about his video is the way that they instantly draw you in, opening a rhetorical chute where you slide past the usual outposts of spectator detachment by Ralph Rugoff

Debate

Soft Machine

Even ‘hawks’ have begun to doubt that exerting ‘hard power’ – sheer military and economic strength – is enough. Cultural persuasion, or ‘soft power’, is the new buzzword by Ronald Jones

Emil Heilborn

Centrum for Fotografi, Stockholm, Sweden

By Ronald Jones

John Bock

ICA, London, UK

By Dominic Johnson

Socle du Monde

Herning Kunstmuseum and Ikast Kedelhal, Herning, Denmark

By Jan Verwoert

Between Past and Future

Asia Society and International Center for Photography, New York, USA

By Sydney Pokorny

Damian Ortega

White Cube, London, UK

By Mark Godfrey

Daniel Joseph Martinez

The Project, New York, USA

By James Trainor

Tim Davis

Bohen Foundation, New York, USA

By Peter Eleey

Behind the Facts

Museu de Arte Contemporanea de Serralves, Oporto, Portugal

By Michael Hubl

Tobias Rehberger

Whitechapel Art Gallery, London, UK

By Alex Coles

Art and Utopia: Action Restricted

Museu d'Art Contemporani de Barcelona, Barcelona, Spain

By Jan Verwoert

Albert Oehlen

Musee Cantonal des Beaux-Arts, Lausanne, Switzerland

By Fabrice Stroun

Julian Rosefeldt

Kunstwerke, Berlin, Germany

By Sally O'Reilly

Ray Johnson

Gimpel Fils, London, UK

By Nicholas Cullinan

Sergej Jensen

Galerie NEU, Berlin, Germany

By Dominic Eichler

Janet Cardiff

Central Park, New York, USA

By Megan Ratner

Donald Urquhard

Millers Terrace, London, UK

By Andrew Hunt

Ana Mendieta

Whitney Museum of American Art, New York, USA

By Kristen M. Jones

Liverpool Biennial 04

Various locations, Liverpool, UK

By Tom Morton

The Future Has a Silver Lining

Migros Museum, Zurich, Switzerland

By Tirdad Zolghadr

Freedom of Expression National Monument

Foley Square, New York, USA

By James Trainor

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White Cube
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