Profiles

Die Kamera blickt auf den nackten Rücken einer Frau, die gerade aus der Dusche kommt und jetzt vor dem Spiegel steht. Dann das kratzende Geräusch einer Schere, die Schamhaare schneidet. Die Frau beugt sich leicht nach vorne und obwohl uns der frontale Blick auf sie verwehrt bleibt, könnte dieser flüchtige Moment nicht von größerer Intimität sein.

There is a notion held by some that to describe the world is photography’s highest calling. If true then Libbie D. Cohn and J.P. Sniadecki have answered the call admirably with their film People’s Park (2013), what they describe to me modestly as ‘a slice of life in Chengdu, China on July 23, 2011’.

Chilean director Pablo Larraín discusses the merging of fact and fiction in his films

Are objects more real than words? Or, how poet and novelist Ben Lerner stopped being jealous and learned to love the virtual

An excerpt from Men and Apparitions, a novel in progress

A graphic novel specially commissioned by frieze

The director Milo Rau and his theatrical hyper-allegories

In this series, frieze d/e looks at the logistics behind art works. Here, the founder and the director of Sitterwerk in St. Gallen explain the foundry’s many functions and processes.

A new film reconstructs Félix Guattari’s unproduced sci-fi script

The texture of Rosenfeld’s work is woven from often seemingly disparate times, places and registers of culture

Conductor-turned-filmmaker, Christian von Borries’s films blend Pop appeal with Capitalist critique

For 20 years, filmmaker Heinz Emigholz has been documenting icons of Modernist architecture

The collected writings of Richard Bartholomew, one of India’s pre-eminent art critics

The mutating activities of DIS

Remembering Antony Balch, filmmaker and distributor extraordinaire

Richard Meyer’s new publication: What Was Contemporary Art?

The uniquely queer history of Matmos is a sprawling carnival with perverse interludes, bizarre objects and guest appearances

In this series, frieze d/e asks artists to discuss the logistical background to their works. Bettina Pousttchi explains why she travels around the world photographing clocks

Tracing the vexed routes of global fashion exchange

A ‘laboratory of mixed emotions’. The uncanny world of Meg Stuart’s dance pieces