Issue 115
May 2008

Brian Dillon laments the decline of the technologically sophisticated but rapidly outdated Polaroid camera, a ‘curious dead end in the history of photography’. David Campany considers the quietly meditative films of Mark Lewis, which fuse pictorial traditions with the art of movement. In Marine Hugonnier’s films, referred to by the artist as ‘an anthropology of images’, Lars Bang Larsen considers the politics of vision. Christy Lange discovers an unsettling side to the American Dream in Taryn Simon’s photographs of restricted locations and private moments. 

From this issue

When patrons wrestle power from museum curators and directors, what does it mean for the public?

BY Robert Storr |

The ‘hand-bra’ technique as a metaphor for rhetorical self-reflexivity in the arts

BY Tirdad Zolghadr |

Can a piece of writing ever precisely convey what the writer wants it to?

BY Jan Verwoert |

Wolfgang Voigt draws on Romantic landscape and classical music as much as technological minimalism

BY Simon Reynolds |

Thirty-five forms of contemporary creation, or how to identify an art work

BY Aaron Schuster |

frieze asks curators, artists and writers to list the books that have influenced them

The sophistication of Polaroid technology was not enough to save it from obsolescence – or nostalgia

BY Brian Dillon |

frieze asks artists and filmmakers to list the movies that have influenced their practice

Fritz Haeg (Metropolis Books, New York, 2008)

BY Bradley Horn |

Alex Ross (Farrar, Straus and Giroux, New York, 2007)

BY Paul Kildea |

John Roberts (Verso, London, 2007)

BY Belinda Bowring |

Toumani Diabaté (World Circuit, 2008)

BY Jace Clayton |

Vampire Weekend (XL Recordings, 2008)

BY Klaus Walter |

Part 2: Modern Highlife, Afro-Sounds & Nigerian Blues: 1970–6 (Soundway, 2008)

BY Sam Thorne |

The Second Sentence of Everything I Read Is You, Park Avenue Armory, New York, USA

BY Morgan Falconer |

Whitney Museum of American Art and Park Avenue Armory, New York, USA

BY Steven Stern |

Various Venues, Berlin

BY Martin Herbert |

Pompidou Centre, Paris, France

Beijing Commune, Beijing, China

BY Carol Yinghua Lu |

Milton Keynes Gallery, UK

BY Martin Herbert |

Museu de Arte Moderna de São Paulo, Brazil

BY Fabio Cypriano |

Anna Schwartz Gallery, Melbourne, Australia

BY Kit Wise |

Galerie Juliètte Jongma, Amsterdam, the Netherlands

BY Douglas Heingartner |

Chicago Cultural Center, USA

BY Jason Foumberg |

Battersea Arts Centre, London, UK

BY Sally O’Reilly |

Tecnológico de Monterrey, Mexico City, Mexico

BY Jessica Berlanga |

Mills College Art Museum, Oakland, USA

BY Julian Myers |

Whitechapel Art Gallery, London, UK

BaliceHertling, Paris, France

Talbot Rice Gallery, University of Edinburgh, UK

BY Mick Peter |

Mary Boone Gallery, New York, USA

BY Steven Stern |

Artists responded to the first public Modernist sculpture in India at Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium

BY Maria Fusco |

Kerlin Gallery, Dublin, Republic of Ireland

BY Tim Stott |

Broadway 1602, New York, USA

BY Morgan Falconer |

ZKM / Museum für Neue Kunst, Karlsruhe, Germany

BY April Elizabeth Lamm |

The Showroom, London, UK

BY Sam Thorne |

Chung King Project, Los Angeles, USA

BY Jeffrey Ryan |

Haus am Waldsee, Berlin, Germany

BY Christy Lange |

James Hockey and Foyer Galleries, Farnham, UK

BY Richard Unwin |

International Center of Photography, New York, USA

BY Kristin M. Jones |

Konrad Fischer Galerie, Berlin, Germany

BY Dominic Eichler |

Deitch Projects, New York, USA

BY George Pendle |

The release of the film Chromophobia raises questions about authorship and appropriation

BY David Batchelor |

Marine Hugonnier’s films explore what the artist describes as an ‘anthropology of images’

BY Lars Bang Larsen |

Brian Griffiths’ installations and sculptures drag their historical baggage towards an imaginary future

BY Jonathan Griffin |

Mark Lewis’ meditative films fuse pictorial tradition with the art of movement

BY David Campany |

Taryn Simon’s photographs of restricted locations reveal an unsettling side to the American Dream

BY Christy Lange |

Kris Martin’s explorations of faith and time employ myriad materials – from departure boards and novels to classical sculptures and watches

BY Jens Hoffmann |

Phalluses, saddles and South Africa; handmade costumes and the Xhosa language

Touch and appropriation; film, dance and gesture

Abandoned factories and sad machinery; fantasy, reality and ambiguity

Something from nothing: decorated offices, reclaimed land, hope and anticipation

Rosalind Nashashibi's films and photographs observe the nuances of everyday life around the world

BY Martin Herbert |

From frontier town to multicultural metropolis, the second-largest Australian city embraces a grass-roots approach to culture that weaves the experience of contemporary art into everyday life

BY Max Delany AND Nicola Harvey |

What should change? The weather in Brussels