Issue 134
October 2010

This month, Christopher Williams talks to Willem de Rooij about conceptualism’s relationship to the image and how referentiality has become a mainstream convention. Following Williams’ major solo show at Kunsthalle Baden-Baden and De Rooij’s current exhibition at Berlin’s Neue Nationalgalerie, they discuss their respective practices, previous collaborations and why the adoption of photography was once a political choice.

On the occasion of Lynda Benglis‘ major touring retrospective she discusses with Marina Cashdan her 40-year career. ‘When I came to New York I was part of a close circle of artists who were asking questions about where art was going and what art could be.’

In our Los Angeles City Report, Fritz Haeg asks what attracts artists to the city, whilst Jonathan Griffin maps LA’s powerhouse institutions, tiny project spaces, legendary art schools and artist-run initiatives.

From this issue

What can the past do for the present?

The dematerialization of the moving image

BY Jennifer Allen |

One man's crusade against 'woo-woo'

BY George Pendle |

New railway stations in Belgium and the UK reveal different approaches to utility and excess

BY Owen Hatherley |

The work of the late French artist and novelist explores the ‘fiction of identity’

BY Hugo Wilcken |

The rise of the ‘neuronovel’ and its implications

BY Michael Sayeau |

Is the Mountain School of Arts in Los Angeles the ideal art school?

BY Snowden Snowden |

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

The poetry, translation and fiction of Anne Carson and Lydia Davis

BY Emily Stokes |

A recent crop of new publications exlpore the lives and histories of people and communities through music 

BY Dan Fox |

Christopher Williams and Willem de Rooij discuss whether referentiality in art, if once polemical, has become an orthodoxy and if so, is there is a way out?

BY Jörg Heiser |

Imagination as a form of resistance in the work of Klaus Weber

BY Kirsty Bell |

What do the first art works and recent speculations about early man tell us about today?

BY Tom Morton |

Social histories and spectral fictions in the films of Elizabeth Price

BY Sam Thorne |

Portraits, abstraction and missing pieces; hobbits, systems and Syd Barrett

BY Natalie Haddad |

Whether re-making found furniture or organizing a makeshift ‘Trattoria’, Martino Gamper produces ad hoc solutions for living

BY Emily King |

The artist used low-resolution images in installations and curated film programmes

BY Paul Teasdale |

On the occasion of a major touring retrospective, the artist talks about her 40-year career

BY Marina Cashdan AND Lynda Benglis |

From powerhouse institutions to tiny project spaces, LA’s dispersed art scene is flourishing

BY Fritz Haeg AND Jonathan Griffin |

P.S.1 Contemporary Art Center, New York, USA

BY Mark Beasley |

Schirn Kunsthalle, Frankfurt am Main, Germany

BY Amanda Coulson |

Barbican Art Gallery, London, UK

BY Colin Perry |

Wexner Center for the Arts, Columbus, Ohio, USA

BY Leora Maltz-Leca |

Museum of Contemporary Art, Shanghai, China

BY Carol Yinghua Lu |

Galleri Nicolai Wallner, Copenhagen, Denmark

BY Chris Fite-Wassilak |

Arnolfini, Bristol, UK

BY Paul Teasdale |

MU, Eindhoven, The Netherlands

BY Daniel Miller |

Esther Schipper, Berlin, Germany

BY Mitch Speed |

Focal Point Gallery, Southend-on-Sea, UK

BY Melissa Gronlund |

David Kordansky Gallery, Los Angeles, USA

BY Jonathan Griffin |

Matthew Marks Gallery, New York, USA

BY Dan Fox |

Hayward Gallery, London, UK

BY Kathy Noble |

Sammlung Falckenberg, Hamburg and Sprüth Magers, Berlin, Germany

BY Jörg Heiser |

Canadian Centre for Architecture, Montreal, Canada

BY Charles Reeve |

White Cube, London, UK

BY Isobel Harbison |

Galerie Eva Presenhuber, Zurich, Switzerland

BY Quinn Latimer |

SF Camerawork, San Francisco, USA

BY Aimee Le Duc |

ArtSway, New Forest, UK

BY David Trigg |

Galerie Thomas Schulte, Berlin, Germany

BY Mark Prince |

Kunsthalle, Bern, Switzerland

BY Burkhard Meltzer |

Museum of Contemporary Art, Detroit, USA

BY Mike Powell |

Glasgow Print Studio, UK

BY Steven Cairns |

Derek Eller Gallery, New York, USA

BY Katie Kitamura |

BALTIC Centre for Contemporary Art, Gateshead, UK

BY Sam Thorne |

With his current show at the Royal Academy (until 13 December), Ai Weiwei’s answers to the frieze ‘Questionnaire’, from Issue 134, October 2010