Issue 133
September 2010

The September issue of frieze is about the super-hybrid: what is it and should we be worried?

In this issue’s ‘State of the Art’ editorial, Jörg Heiser describes a phenomenon he has provisionally called ‘super-hybridity’.

In the wake of ravenous capital and the transformative effect of the Internet, hybridized forms of art-making have today ‘moved beyond the point where it’s about a fixed set of cultural genealogies and instead has turned into a kind of computational aggregate of multiple influences and sources’. 

From this issue

What is ‘super-hybridity’?

BY Jörg Heiser |

Site Santa Fe’s Eighth International Biennial is as inspiring as it is original

BY Robert Storr |

Contemporary African artists respond to prejudice and homophobia

BY Sean O'Toole |

Has a theory been replaced by a technology?

BY Jen Allen |

Michel Serres, one of the most influential and eccentric of French philosophers, turns 80

BY Daniel Miller |

For the first time in its history, the Director of the Venice Architecture Biennale is a woman: acclaimed architect Kazuyo Sejima

BY Helen Chang |

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

BY Thomas Beard |

From the economic crisis to fanaticism, three new publications explore the meaning of capital

BY Mark Fisher |

From The Bees Gees to Justin Timberlake, the male falsetto is transgressive, both angelic and diabolical, depending on who is singing, and to what purpose

BY Anwyn Crawford |

A round table discussion led by Jörg Heiser on ‘super-hybridity’: what is it and should we be worried? With Ronald Jones, Nina Power, Seth Price, Sukhdev Sandhu and Hito Steyerl

BY Jörg Heiser |

Nathaniel Mellors

Ming Wong’s homage to Pier Paolo Pasolini involved relocating the story of the Italian director’s 1968 masterpiece, Teorema, from Milan to Naples. Dominic Eichler accompanied him on his journey south

BY Dominic Eichler |

With their narrative and perceptual slippages, the films of Emily Wardill deal in condensation and complication

BY Jennifer Higgie |

Drawings and anachronisms; books, prototype designs and romanticism

BY Dan Fox |

Camcorders, convents, collectivism and confession

BY Martin Herbert |

Music, tradition and Islam; organized noise, film and instability

BY Andrew Bonacina |

New York-based artist Amy Sillman talks with Matt Saunders about dandyism, comedy and the legacy of Abstract Expressionism

BY Matt Saunders |

A conversation between Agnieszka Kurant & Nassim Nicholas Taleb about the benefits of uncertainty

Various Venues, Germany

BY Jens Hoffmann |

Whitechapel Gallery, London, UK

BY Martin Herbert |

The Drawing Center, New York, USA

BY Ara H. Merjian |

Various Venues, Beirut, Lebanon

BY Anna Altman |

Schaulager, Basel, Switzerland

BY Quinn Latimer |

Miguel Abreu Gallery, New York, USA

BY Kristin M. Jones |

Tate Modern, London, UK

BY Brian Dillon |

Galerie Andreas Huber, Vienna, Austria

BY Helen Chang |

Various venues, Sydney, Australia

BY Peter Hill |

Milton Keynes Gallery, UK

BY Isobel Harbison |

Casey Kaplan Gallery, New York, USA

BY Marina Cashdan |

Leopold Museum, Vienna, Austria

BY Theo Altenberg |

SculptureCenter, New York, USA

BY Graham T. Beck |

Mary Mary, Glasgow, UK

BY Steven Cairns |

Museum Abteiberg, Mönchengladbach, Germany

BY Andrew Hunt |

Sutton Lane, London, UK

BY Colin Perry |

Le Centre National d'art contemporain de la Villa Arson, Nice, France

Lauren Gitlen, New York, USA

BY Lumi Tan |

Victoria Miro, London, UK

BY Natasha Degen |

Instituto Svizzero and other venues, Rome, Italy and Kunsthalle Basel, Switzerland

BY Barbara Casavecchia |

September, Berlin, Germany

BY Jörg Heiser |

Olga Korper Gallery, Toronto, Canada

BY Dan Adler |

Izu Photo Museum, Japan

BY Amelia Groom |

Meridian Gallery, San Francisco, USA

BY Melissa E. Feldman |

Pump House Gallery, London, UK

BY Colin Perry |

What could you imagine doing if you didn’t do what you do? Being in a boy band