Issue 159
Nov - Dec 2013

Editor Dan Fox reconsiders British art and the 1990s; cult director Alejandro Jodorowsky discusses psychomagic, masturbation and the chaotic language of dreams with Eric Morse and Jennifer Kabat explores the uncomfortable world of Marlene McCarty.

Beginnings & Ends: we ask eight artists, writers and curators about, emergent technologies, the arc of the future, and what exactly is meant by ‘Post-Internet art.’

From this issue

Do we live in an age of panicky materialism?

BY Jan Verwoert |

The spectres of the culture wars

BY Kaelen Wilson-Goldie |

Words and nations

BY Lynne Tillman |

A performative tour of libraries in Nairobi

BY Sean O'Toole |

In the first of a new series, Norwegian artist Ida Ekblad discusses the music that she loves

British art and the 1990s

BY Dan Fox |

An interview with Alejandro Jodorowsky

BY Erik Morse |

The uncomfortable world of Marlene McCarty

BY Jennifer Kabat |

What are the histories of artists engaging with emergent technologies? How has Post-Internet art come to be defined? And what happens next? frieze asks eight artists, writers and curators to reflect

On Eric Hobsbawm's Fractured Times

BY Houman Barekat |

Has Hollywood primed us for total surveillance?

BY Bert Rebhandl |

The global spread of Chicago footwork

BY David Morris |

The virtual realities of Spring Breakers and The Bling Ring

BY Kevin McGarry |

Porto Alegre, Brazil

BY Dan Fox |

Tracing elliptical spaces between architecture, literature and sculpture

BY Declan Long |

Films about place and ‘denatured nature’

BY Shanay Jhaveri |

Biography and timeliness in the work of Moshekwa Langa

BY Sean O'Toole |

The sculptures, installations and drawings of Diango Hernández

BY Timotheus Vermeulen |

A photograph depicting destroyed computer parts said to have contained files leaked by Edward Snowden

BY Henrik Olesen |

Q. If you could live with only one piece of art, what would it be? A. Why should I live with an art work?

BY Hito Steyerl |