Issue 130
April 2010

The April issue of frieze is haunted. In this issue’s ‘State of the Art’ editorial, Jennifer Higgie writes that ‘If the Art of the Past is like a ghost – something dead that refuses to die – then it follows that a haunting is the unresolved relationship between influence and action.’

Cyprien Galliard tells Jonathan Griffin that it is the monuments of ancient civilizations that connect with the ruins of Modernist urbanism; as he puts it, ‘I wanted to treat a bunker as a classical ruin, or a temple buried beneath the desert in Egypt; to conduct a modern excavation, using Caterpillar diggers instead of brushes.’

For Brian Dillon it is architectural ruins that provide an ongoing relationship with the past for artists working today; he surveys the history of ruins in art from 18th-century painting to 21st-century film.

Jörg Heiser considers the question from the perspective of what might be an appropriate response to the subject of the Holocaust, and Christy Lange finds in Shannon Ebner‘s work a regeneration of photography’s dying legacy.

From this issue

The role of the dead in the lives of the living

BY Jennifer Higgie |

A tale of overlapping interests

BY Robert Storr |

Edgar Allan Poe, the disappearance of the 'Poe Toaster' and the best way to find a grave

BY George Pendle |

Finding different cures for sadness

BY Jennifer Allen |

The intertwining of melancholy and possibility in contemporary photography

BY George Baker |

Does Michael Haneke’s lauded new film mark a shift away from his earlier critique of mainstream cinema?

BY Bert Rebhandl |

In an ongoing series, frieze asks an artist, curator or writer to list the books that have influenced them

BY Mike Nelson |

Luiza Nader (University of Warsaw and Foksal Gallery Foundation, Warsaw, 2009) / Lukasz Ronduda and Piotr Uklanski (Centre for Contemporary Art, Warsaw)

BY Monika Szewczyk |

Eds. Maria Hlavajova, Sven Lütticken and Jill Winder (BAK, Utrecht, and post editions, Rotterdam, 2009)

BY Mark Fisher |

Ed. Tom McDonough (Verso, London, 2009)

BY Owen Hatherley |

XXX Macarena (From the Nursery/Primary Information, 2010)

BY Dan Fox |

Various artists (Stones Throw, 2010)

BY Sam Thorne |

Tracing the history of ruins in art, from 18th-century painting to 21st-century film

BY Brian Dillon |

The work of Cyprien Gaillard connects the ruins of Modernist urbanism with the monuments of ancient civilisations

BY Jonathan Griffin |

Politics, poetry and the legacy of black and white photography come together in Shannon Ebner’s explorations of language and sign systems

BY Christy Lange |

The role of art in responding to the Holocaust

BY Jörg Heiser |

Taped footage, poems and archival material; collage, splicing and cheap effects

BY Sam Thorne |

Ornithology, rustic landscapes and furniture; ’60s magazines, periodicals and nature books

BY Dominic Eichler |

Biography, autonomy, portals and portholes; photographs, assemblages and sculptures

BY Graham T. Beck |

Recuperation and representation in the work of Giulia Piscitelli

BY Pádraig Timoney |

Tate Liverpool, UK

BY Sam Thorne |

Migros Museum für Gegenwartskunst, Zürich, Switzerland

BY Quinn Latimer |

Los Angeles County Museum of Art, USA

BY Christy Lange |

Museu Oscar Niemeyer, Curitiba, Brazil

BY Rafael Cardoso |

X-Initiative, New York, USA

BY Dan Fox |

Vilma Gold, London, UK

BY Martin Herbert |

Zacheta National Gallery of Art, Warsaw, Poland

BY Simon Rees |

The Studio Museum in Harlem, New York, USA

BY Ara H. Merjian |

Stadel Museum and Museum für Moderne Kunst, Frankfurt am Main, Germany

BY Amanda Coulson |

Ibid Projects, London, UK

BY Laura Allsop |

Argos Centre for Art and Media / Meessen De Clerq, Brussels, Belgium

BY Christy Lange |

Modern Art, London, UK

BY Jonathan Griffin |

Blum & Poe, Los Angeles, USA

BY Andrew Berardini |

TENT, Rotterdam, the Netherlands

BY Esperanza Rosales |

The Gallery of Modern Art and Queensland Art Gallery, Brisbane, Australia

BY Jennifer Higgie |

Nogueras Blanchard, Barcelona, Spain

BY Max Andrews |

Swallow street, London, UK

BY Tom Morton |

Reception, Berlin, Germany

BY Mark Prince |

Paul Petro Contemporary Art, Toronto, Canada

BY Dan Adler |

Sala Veronicas, Murcia, Spain

BY Sam Thorne |

Contemporary Art Gallery, Art Tower Mito, Japan

BY Andrew Maerkle |

The Bluecoat, Liverpool, UK

BY Abi Bliss |

What do you wish you knew? Why I like photography