frieze

Issue 90 April 2005

Informant

Informant

Viral Marketing is aimed at a public jaded by traditional advertising - where will it end? by George Pendle

Debate

Debate: Discipline

Do artists need it? What does it really meant? Richard Wentworth and Michael Craig-Martin discuss by Richard Wentworth and Michael Craig-Martin

Laughter, Tears and Rage

Laughter, Tears and Rage

In his new book Jacques Rancière discusses the democratization of vision by Brian Dillon

View from the Bridge

View from the Bridge

Is the growing popularity of art fairs creating a culture of ‘spotting’ rather than ‘looking’? by Robert Storr

State of the Art

State of the Art

Four points by Polly Staple

Monograph

Welcome to the Real World

Rirkrit Tiravanija’s mid-career retrospective demonstrates how his work has emphasized interpersonal activity over art production by Dan Fox

Focus

Shirana Shahbazi

Chronicles of the everyday; photographs, paintings, collectives and cultural identity by Kristin M. Jones

Focus

Margaret Salmon

Celluloid portraits; time, tears and suburbs; discord and repetition by Tom Morton

Focus

Knut Henrik Henriksen

Geometric conundrums; architecture, sculpture and a ‘shy, friendly giant’ by Kirsty Bell

Focus

Matthew Brannon

False invitations, fictional films, alcoholism, tapestries and self-doubt by Peter Eleey

Monograph

Taking a Line for a Walk

Roman Ondák’s interventions into the patterns of daily routines are both existential and politically pointed by Jan Verwoert

City Report

Moscow

Moscow recently held its first international Biennale, the biggest exhibition of contemporary art ever to be held in Russia by Dan Fox and Jennifer Higgie

Monograph

Don’t Fence Me In

Andrea Zittel’s projects include the best way to cook eggs, design clothes or build a ranch; an approach to art that evolves from the demands of everyday living by James Trainor

Criticism

Good Circulation

Artists explore the space between production and consumption: who is addressed and how? by Jörg Heiser

Film

I Am A Cinematographer

Jokes, wordplay and belief systems inform 40 years of experimental filmmaking by Malcolm Le Grice

Silhouettes

National Portrait Gallery, London, UK

By Catherine Wood

Hans Schabus

Kunsthaus Bregenz, Bregenz, Austria

By Max Andrews

Peter Piller

Museum für Gegenwartskunst, Siegen, Germany

By Catrin Lorch

Rita McBride

Sculpture Center, New York, USA

By Charles LaBelle

Mark Dion

The Museum of Modern Art, New York, USA

By Peter Eleey

Akram Zaatari

Portikus, Frankfurt, Germany

By Amanda Coulson

Chris Evans

Galerie Juliette Jongma, Amsterdam, Netherlands

By Tom Morton

Living Together is Easy

National Gallery of Victoria/ Art Tower Mito, Melbourne, Australia/ Tokyo, Japan

By Kit Wise

Hilma af Klint

Douglas Hyde Gallery, Dublin, Ireland

By Sally O’Reilly

Luigi Ontani

Galleria Lorcan O’Neill , Rome, Italy

By Nicholas Cullinan

Michael Stumpf

Collective Gallery, Edinburgh, UK

By Mick Peter

David Claerbout

Kunstbau, Lenbachhaus, Munich, Germany

By Ralf Christofori

Daria Martin

The Showroom, London, UK

By Lisa Panting

T.J. Wilcox

Metro Pictures, New York, USA

By Charles LaBelle

Bruce Conner

Gladstone Gallery, New York, USA

By Katie Stone

Olafur Eliasson

Aarhus Kunstmuseum, Aarhus, Denmark

By Ronald Jones

Thomas Hirschhorn

Centre Culturel Suisse, Paris, France

By Pablo Lafuente

John Latham

Lisson Gallery, London, UK

By Andrew Hunt

Richard Tuttle

The Drawing Center, New York, USA

By Megan Ratner

Pawel Althamer

Bonnefanten Museum , Maastricht, Netherlands

By Douglas Heingartner

East Village USA

New Museum of Contemporary Art, New York, USA

By Steven Stern

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Hauser and Wirth
Marian Goodman
Lisson Gallery
White Cube
Victoria Miro
Gladstone Gallery
Stephen Friedman
Maureen Paley
Chisenhale
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