Issue 166
October 2014

The October issue of frieze is out now, featuring Shahryar Nashat, Laure Provost, Bruce McLean and artist duo Iain Forsyth and Jane Pollard, plus all our regular columns and reviews from around the world.

Also Featuring: Co-editor Jörg Heiser on the irresistible entangling of dance and desire in the work of this issue’s cover artist, Shahryar Nashat; Domenick Ammirati explains how Darren Bader has pushed the readymade to its extreme.

From this issue

A slew of recent exhibitions and projects reveal an interest in the artist as anthropologist

BY Kaelen Wilson-Goldie |

In Shahryar Nashat’s films and sculptures, dodecahedrons, dance and desire come together in delirious studies of impossible ideals

BY Jörg Heiser |

From Samuel Beckett’s plays to Nick Cave’s music, the artists and filmmakers discuss the evolution of their artistic imaginations

How Andra Ursuta’s sculptures play with national stereotypes

BY Summer Guthery |

How Darren Bader has pushed the readymade to its extreme

BY Domenick Ammirati |

Silicon wafer weapons and Mars missions

BY Kirsty Bell |

Films and installations from the depths of the unconscious

BY Josefine Wikström |

Botched temporalities and ceramic selves

BY Matthew McLean |

Laure Prouvost talks about translation, tea, fictitious grandparents, erotic films and trying to make sense of the world

BY Zoe Pilger AND Laure Prouvost |

San Francisco's theatre of sound-sculptured space

BY Geeta Dayal |

Can’t relate? Don’t worry: you’re not alone

BY Dan Fox |

What a fashion designer can teach us about the display of contemporary art

BY Vivian Sky Rehberg |

Radical collage and cut-outs in India

BY Shanay Jhaveri |

Public art and the commemoration of World War I

BY Lara Pawson |

The British screenwriter and director discusses the films that have influenced her practice

BY Joanna Hogg |

Who should the internet serve?

BY Stephanie DeGooyer |

‘Pop today is a broad church, but no one would ever argue that it’s not fun’

BY Dan Fox |

How artists and photographers in Japan have responded to the disasters of 3 March 2011

BY Christy Lange |

20th-century illustrations of Fantômas

BY Erik Morse |

New technology and endangered objects

BY Alice Rawsthorn |

The consistently inconsistent career of Scottish artist Bruce McLean

BY Colin Perry |

Whitney Museum of American Art, New York, USA

BY Chris Wiley |

At Hauser & Wirth, London & Somerset, UK, the artist's sculptural forms work with and struggle against space

BY Amy Sherlock |

Grundy Art Gallery, Blackpool, UK

BY Luke Healey |

Raven Row, London, UK

BY Charlie Fox |

MOT International, London, UK

BY Sook-Kyung Lee |

Maureen Paley, London, UK

BY Paul Pieroni |

Pace Gallery, London, UK

BY Shanay Jhaveri |

John Hansard Gallery, Southampton, UK

BY Paul Carey-Kent |

The Mistake Room, Los Angeles, USA

BY Jonathan Griffin |

New Orleans Museum of Art, USA

BY Jay Murphy |

Paul Kasmin Gallery, New York, USA

BY Joseph Akel |

Jessica Silverman Gallery, San Francisco, USA

BY Jonathan Griffin |

Rhona Hoffman Gallery, Chicago, USA

BY Ara H. Merjian |

Various venues, Salvador da Bahia, Brazil

BY Tobi Maier |

Daniel Faria Gallery, Toronto, Canada

BY Caoimhe Morgan-Feir |

Gallery 9.5, Hotel Anteroom, Kyoto, Japan

BY Becca Voelcker |

Monash University Museum of Art, Melbourne, Australia

BY Sophie Knezic |

Museum of Yugoslav History, Belgrade, Serbia

BY Giulia Smith |

Galeria Stereo, Warsaw, Poland

BY Krzysztof Kościuczuk |

Kunstverein Langenhagen, Germany

BY Melissa Canbaz |

Société, Berlin, Germany

BY George Vasey |

Galerie Buchholz and Arsenal Institut für Film und Videokunst, Berlin, Germany

BY Karen Archey |

Douglas Hyde Gallery, Dublin, Ireland

BY Gemma Tipton |

Moderna Museet, Stockholm, Sweden

BY Matthew Rana |

GAM, Turin, MADRE, Naples, MAXXI, Rome, Italy

BY Barbara Casavecchia |

Jan Mot, Brussels, Belgium

BY EC Feiss |

Galerie Antoine Levi, Paris, France

BY Eleanor Ivory Weber |

Marcelle Alix, Paris, France

BY Jill Glessing |