Issue 142
October 2011

Exclusively in the October issue of frieze, we present SUR L’ART (On Art), a previously unpublished artist project by Marcel Broodthaers. Originally intended for a 1975 issue of Studio International, it is available here for the first time as Broodthaers intended. The project is introduced by curator and art historian Cathleen Chaffee.

Artists in the UK are increasingly turning to narrative cinema and mainstream TV. Ed Atkins, Melanie Gilligan, Anja Kirschner and Ben Rivers take part in a panel discussion led by Dan Kidner, discussing how this tendency relates to issues of funding, ideology, duration and display. The work of Ryan Trecartin is explored in an essay by Chris Wiley and an interview with the artist by novelists Katie Kitamura and Hari Kunzru.

The October issue also features: Max Andrews on radicalism, inadequacy and the excluded in the work of Dora García, whose collaborations and performances can be seen in the Spanish Pavillion of the Venice Biennale until the end of November; and Yto Barrada in conversation with frieze co-editor Jennifer Higgie about her reasons for opening a cinematheque in Tangier.

From this issue

In recent years, artists in the UK have increasingly turned to narrative cinema and mainstream TV, a shift that has coincided with a renewed interest in the video and new-media practices of the 1970s and ’80s. How does this relate to issues of funding, ideology, duration and display? A round-table discussion with artists Ed Atkins, Melanie Gilligan, Anja Kirschner and Ben Rivers

BY Dan Kidner |

What should stay the same? Peace and love among the people.

Politics and anthropometry: measuring history through yourself

BY Vincenzo Latronico |

Kunstquartier Bethanien / Studio 1 Berlin 

BY Dieter Roelstraete |

The collaborations and performances of Dora García, who is currently representing Spain in the Venice Biennale, engage with radicalism, inadequacy and the excluded

BY Max Andrews |

Sutton Lane at Klosterfelde

BY Mark Prince |

Kunstverein Hamburg

BY Wes Hill |

Slippages and the peculiarities of language; its problems and potential

BY Nick Aikens |

CAPC musee d'art contemporain de Bordeaux

BY Raphael Brunel |

Objectif Exhibitions

BY Esperanza Rosales |

Museet fur Samtidkunst

BY Jacob Lillemose |

Yto Barrada juggles her work as an artist with running a cinémathèque in Tangier. She talked to Jennifer Higgie about her reasons for opening a cinema, the ‘strategies of resistance’ she encounters in Morocco today, and her interest in botany

BY Jennifer Higgie |

Jesse Ball is an author, poet, artist and lucid dreaming instructor based in Chicago. Ross Simonini talked to him about his new novel, The Curfew, ‘writing as a performance’, and the importance of both clarity and deception in story-telling

BY Ross Simonini |

Museo d'Arte Contemporanea Roma

BY Mike Watson |

Fondazione Sandretto Re Rebaudengo 

BY Barbara Casavecchia |

Palacio de Cristal, Museo Centro de Arte Reina Sofia

BY George Stolz |

To coincide with its major relocation to a new site in King’s Cross, artist and teacher Malcolm Le Grice traces the history of Central Saint Martins, from the mid-19th-century to today. This is the first in an occasional series of essays on art schools around the world

BY Malcolm Le Grice |

DESTE Foundation for Contemporary Art

BY Cathryn Drake |

Whitney Museum of American Art 

BY Katie Kitamura |

Marian Goodman Gallery

BY Dan Fox |


BY Lumi Tan |

Metro Pictures

BY David Reisman |

Chelsea Art Museum

BY Chris Wiley |

Boo-Hooray & Boo-Hooray c/o Steohen Kasher Gallery

BY Geeta Dayal |

Public performance and invisibility; social alienation and the artist’s role

BY Jonathan Griffin |

Anton Kern Gallery

BY William Corwin |

San Francisco Museum of Modern Art

BY Eugenia Bell |

Museum of Contemporary Art at the Pacific Design Center

BY Jonathan Griffin |

The things they don't teach you in art school

BY Douglas Fogle |

Catriona Jeffries Gallery

BY Michael John Harris |

The problems of funding art during times of revolution

BY Kaelen Wilson-Goldie |

Misheng Art Museum 

BY Angie Baecker |

Yuz Museum, Shanghai, China

BY Carol Yinghua Lu |

Govett-Brewster Art Gallery, Artspace, Dunedin Public Art Gallery

BY Emily Cormack |

Should artists join arguments about national belonging?

BY Jennifer Allen |

The Hepworth Wakefield

BY Eleanor Nairne |

The Museum of Cryptozoology and its celebration of the unknown and the elusive

BY George Pendle |

Nottingham Contemporary

BY Kathy Noble |

Cathleen Chaffe on frieze's exclusive publication of an artist project by Marcel Broodthaers

Ryan Trecartin’s immersive video environments are amplified reflections of the joy, madness and ambiguity of our culture

BY Chris Wiley |

The changing shape of demonstrations

BY Michael Sayeau |

The photography and videos of Olga Chernysheva capture concentrated moments in the midst of daily Russian life

BY Vivian Sky Rehberg |

In an ongoing series, frieze asks artists and filmmakers to list the movies that have influences their practice Originally trained as a sculptor, Deimantas Narkevičius began working with film in the early 1990s. His films examine the relationship of personal memories to political histories, particularly those of his native Lithuania. Employing documentary footage, voice-overs, interviews, re-enactments and found photographs, Narkevičius’s films and videos submit historical events to the narrative structures of storytelling and cinema. His work was on view at the New Museum in New York in the recent exhibition ‘Ostalgia’, and his solo exhibition at gb agency in Paris, ‘Restricted Sensation’, runs until 22 October.

Developing narratives from fragmented histories, the work of Michael Stevenson weighs up fate, irony and chance events

BY Adam Jasper |

On the occasion of a major retrospective in London, Paul Schütze talked to pioneering composer Eliane Radigue about her 50-year career, which spans electronic music, Tibetan Buddhism, musique concrète and ‘anti-acoustics’

BY Paul Schütze |

Wayne Koestenbaum's new book Humiliation confirms that language hurts

BY Quinn Latimer |

Supplement Gallery

BY Nick Aikens |

However esoteric the aims of a big group, they can generate moments of real musical power 

BY Frances Morgan |