Issue 117
September 2008

Caoimhín Mac Giolla Léith discovers an increasing interest in the relationship between language and the body in Steve McQueen‘s first feature film. Guy Brett traces Cildo Meireles‘ ongoing communication with the public, which he has been exploring since the 1960s. Tom Morton tracks the alternative histories and playful anachronisms that shape Steven Claydon‘s sculptures, paintings and videos. Emily King talks to Japanese designer Naoto Fukasawa about his interest in people, everyday objects and their environments. 

From this issue

Ikon Eastside, Birmingham, UK

BY Mia Jankowicz |

Kunsthalle Bremen, Germany

BY Catrin Lorch |

Kadist Art Foundation, Paris, France

Carnegie Museum of Art, Pittsburgh, USA

BY Jörg Heiser |

Various venues, Folkestone, UK

BY Jonathan Griffin |

Tate St Ives, UK

BY Sam Thorne |

Regen Projects, Los Angeles, USA

BY Christopher Bedford |

Ballroom Marfa, Texas, USA

BY Katie Sonnenborn |

Wellcome Collection, London, UK

BY Ann Coxon |

CCA Wattis Institute for Contemporary Arts, San Francisco, USA

BY Julian Myers |

Various venues, Sydney, Australia

BY Max Delany |

Nottingham Contemporary, UK

BY Martin Herbert |

Bunkier Sztuki, Kraków, Poland

Derek Eller Gallery, New York, USA

BY Jenni Sorkin |

Galeria Fortes Vilaça, São Paulo, Brazil

BY Silas Martí |

Museum of Contemporary Art, Los Angeles, USA

BY Olivier Debroise |

Salon of the Museum of Contemporary Art, Nacionalna Galerija, Center for Cultural Decontamination & Public Space, Belgrade, Serbia

BY Nicole Scheyerer |

Project Arts Centre, Dublin, Ireland

BY Tim Stott |

Dundee Contemporary Arts, UK

BY Sarah Lowndes |

Galerie Nächst St Stephan/Rosemarie Schwarzwälder, Vienna, Austria

BY Katie Kitamura |

Natalie Haddad documents the exhibition acting as a corrective to the historical absence of Chicanos in mainstream America, and the museum

BY Natalie Haddad |

Victoria Miro, London, UK

BY Eliza Williams |

Trentino-South Tyrol, Italy

BY Melissa Gronlund |

Despite the city's troubles and persistent clichés about it's cultural life, a community of independent collectives and spaces is thriving

Sergej Jensen’s exhausted, expressive paintings, gallery interventions, rare films and moody music

BY Dominic Eichler |

Prime numbers, humdrum sources and brainy embroidery

BY Judith Russi Kirshner |

Since the 1960s Brazilian artist Cildo Meireles has been searching for ‘some kind of communion’ with the public

BY Guy Brett |

What could you imagine doing if you didn’t do what you do? I would be a biologist, a kindergarten teacher or a policewoman

Alternative histories and playful anachronisms shape Steven Claydon’s sculptures, paintings and videos

BY Tom Morton |

In his sculptures, collages and films, Bojan Sarcevic explores the ‘ghost haunting modernity’: ornament and decoration

BY Jennifer Allen |

Photography, Africa, dystopian fantasies and ‘the present as a screen’

BY Sean O'Toole |

Since the late 1960s Lynn Hershman Leeson has employed multiple personalities to explore ideas surrounding identity

BY Amelia Jones |

Japanese designer Naoto Fukasawa talks about his interest in the interaction between people, everyday objects and their environments

BY Emily King |

Wax mannequins, childhood memories, sneakers and solitude

BY Claire Gilman |

Steve McQueen’s first feature film reveals an artist increasingly interested in the relationship between language and the body

Sculpture, vivid provocations and a mistrust of language

BY Jonathan Griffin |

Jason Lutes (Drawn and Quarterly, Montreal, 2008)

BY Chris Fite-Wassilak |

Are there no limits to the art world's expertise?

BY Tirdad Zolghadr |

John Cage, Hans Ulrich Obrist and their relationship to time

BY Jennifer Allen |

How the wealthy spend their leisure time and what it signifies

BY Robert Storr |

The hunt for rare African funk records raises questions about how the digitized music of the 21st century will be archived

BY Jace Clayton |

Matthew Barney and Jonathan Bepler, Los Angeles, USA

BY Christopher Bedford |

Curated by Vicki Bennett, Sonic Arts Network, 2008

BY Mick Peter |

Irish Museum of Modern Art, Dublin, Republic of Ireland

BY Jennifer Higgie |

With so many artists using references in their work, it’s time to question which ones are good, necessary or relevant

BY Dominic Eichler |

In an ongoing series, frieze asks artists and filmmakers to list the movies that have influenced their practice

Nico Muhly, Bedroom Community, 2008

BY Dan Fox |

Boris Groys (MIT Press, Cambridge, 2008)

BY Brian Dillon |

Each Rabelaisian timepiece is different. Can you spot the difference between the two?

BY Sally O'Reilly |

In an ongoing series frieze asks curators, artists and writers to list the books that have influenced them

Mark E. Smith with Austin Collings (Viking, London, 2008)

BY Nathaniel Mellors |

DJ Zeus, Consume Music, 2002/2008

BY Sam Thorne |