Issue 129
March 2010

In the March issue of frieze, Jonathan Griffin unpacks the philosophical and optical enquiries of Pietro Roccasalva.

Also in issue 129: contributing editor Carol Yinghua Lu explores the performance, sculpture and painting of Zhang Huan; Jan Verwoert discovers the presence of both a life-affirming spirit and an inconsolable pain in the work of the late Polish artist Alina Szapocznikow; and Sharon Hayes talks about the politics of her performance with art historian Roger Cook. Plus: Nina Power on The Otolith Group; and Eugenia Bell on the unlikely compatibility of Dutch and Arabic typography.

From this issue

Jan Verwoert writes about the 1990s, ‘New Innocence’, popular TV shows and the ethics of profanity

BY Jan Verwoert |

Have crowded museums and galleries put an end to uninterrupted contemplation?

BY Robert Storr |

The re-writing of art history in South Africa

BY Sean O’Toole |

The death and resurrection of photography in a digitized world

BY Jennifer Allen |

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

The rise of ‘dark tourism’ poses the question: are works of art as powerful as the sites they attempt to memorialize?

BY Ronald Jones |

The resurgence of interest in Italian Modernists demonstrates the European avant-garde’s influence on a new generation of artists

BY Luca Cerizza |

René Girard (Michigan State University Press, 2009)

BY Erik Morse |

Arthur C. Danto (Yale University Press, 2009)

BY Richard Deming |

Richard Skelton (Type, 2010)

BY Jace Clayton |

Spacemen 3 (Fire Records, 1987/2009)

BY Dan Fox |

Pantha du Prince (Rough Trade, 2010)

BY Sam Thorne |

Filmmakers, writers and theorists, The Otolith Group mine the past in order to understand what's yet to come

BY Nina Power |

An interview with American artist Sharon Hayes

BY Roger Cook |

Zhang Huan explores his interests in transience, Buddhism and the revitalization of traditional Chinese craftsmanship

BY Carol Yinghua Lu |

Suspension, isolation, anticipation; frozen moments, ghostly flowers and floodlit nights

BY Jennifer Higgie |

Memory, word games and puzzles; knots, conjuring tricks and cinema

Pleated fabrics, dresses and made-to-measure sculptures; cigarettes, tailoring and shop windows

BY Sam Thorne |

Architectural Association, London, UK

BY Douglas Murphy |

Deutsche Guggenheim, Berlin, Germany

BY Mark Prince |

Overduin and Kite, Los Angeles, USA

BY Andrew Berardini |

A Dutch–Arabic typography project shows increasing compatibility between strikingly different languages and cultures

BY Eugenia Bell |

Cokkie Snoei, Amsterdam, the Netherlands

BY Douglas Heingartner |

Working through abjection and attraction, the sculptures of the late Alina Szapocznikow engender the politics of emotion

BY Jan Verwoert |

Dia at the Hispanic Society of America, New York, USA

BY Kristin M. Jones |

Carpenter Center for the Visual Arts / Harvard Art Museum, Boston, USA

BY Ara H. Merjian |

The Modern Institute, Glasgow, UK

BY Steven Cairns |

Galerie Marian Goodman, Paris, France

BY Vivian Sky Rehberg |

Galerie Daniel Buchholz, Cologne, Germany

BY Catrin Lorch |

The Showroom, London, UK

BY Kathy Noble |

Hammer Museum, Los Angeles, USA

BY Christopher Bedford |

Chatterjee & Lal, Mumbai, India

BY Heidi Fichtner |

Museo de Arte Carrillo Gil, Mexico City, Mexico

BY Jessica Berlanga Taylor |

Essl Museum, Vienna, Austria

BY Helen Chang |

Thomas Dane Gallery and Karsten Schubert, London, UK

BY Jonathan Griffin |

Andrew Kreps Gallery, New York, USA

BY Graham T. Beck |

greengrassi, London, UK

BY Colin Perry |

Museum für Gegenwartskunst, Siegen, Germany

BY Catrin Lorch |

Les Ateliers Jean Brilliant, Montreal, Canada

BY James D. Campbell |

The Israeli Center for Digital Art, Holon, Israel

BY Daniel Miller |

Pinksummer, Genoa, Italy

BY Barbara Casavecchia |

Kerlin Gallery, Dublin, Ireland

BY Isobel Harbison |

Rob Tufnell at 1 Sutton Lane, London, UK

BY Tom Morton |

From tableaux vivants to Photoshop, the philosophical and optical enquiries of Pietro Roccasalva inevitably return to painting

BY Jonathan Griffin |

80WSE Galleries, New York University/Participant Inc, New York, USA

BY Steven Stern |

What do you like the look of? Raw cosmetics