Issue 174
October 2015

The October issue of frieze is out now, with features by award-winning writers Brian Dillon on Enrico David, Lavinia Greenlaw on Elizabeth Price and Marina Warner on the destruction of artworks; plus columns and reviews from around the world, including a questionnaire from Jim Shaw.

Also featuring: Julian Hoeber argues that enthusiasm, not scholarship, motivates artists; Ben Davis and Ara H. Merjian explore how the Athens art scene is responding to austerity; and Abraham Cruzvillegas talks to Jace Clayton about his art and his philosophy of autoconstrucción.

From this issue

The best art eludes easy interpretation

BY Chris Wiley |

Finding historical perspectives on current upheavals in the Arab world

London's studio-space crisis

BY Katharine Stout |

A new biopic on the late Indian modernist, F.N. Souza

BY Shanay Jhaveri |

How artists have explored transgender identity

BY Juliet Jacques |

Dressing up, ballet, music videos and mutant dance

BY Adam Linder |

Presenting documentary stories using techniques from fictional narrative cinema, these films aim to tell a greater truth than conventional reportage could offer

BY Aaron Cutler |

Better understood as a popular modernist collective, Test Dept made records pulsing with panic and were one of the last examples of post-punk

BY Mark Fisher |

Each approach is valid and necessary, but none alone is sufficient – especially in places undergoing rapid transition

BY Brian Sholis |

The re-invigorated relationship between design and craft

BY Alice Rawsthorn |

Hauser & Wirth, Bruton, UK

BY Matthew McLean |

Royal Academy of Arts, London, UK

BY Ina Cole |

Institute of Contemporary Arts, London, UK

BY Patrick Langley |

Brian Dillon considers the 'monstrous homunculi' of Enrico David

BY Brian Dillon |

Cell Project Space, London, UK

BY Harry Thorne |

Why enthusiasm, not scholarship, motivates artists

BY Julian Hoeber |

Language as virus and failing machines

BY Robert Barry |

Elizabeth Price’s new two-screen, HD video installation, K

BY Lavinia Greenlaw |

The French artist Nathalie du Pasquier recollects the people, images and places that have shaped her career

BY Nathalie du Pasquier |

Drifting, dreaming and drowned worlds

BY Amy Sherlock |

Public monuments, Islamic State and contesting the story of the past by Marina Warner

BY Marina Warner |

Art history meets domestic life in the paintings of Jonas Wood

BY Ian Chang |

Since the start of the Greek debt crisis in 2010, austerity measures have had a profound impact on life in the country. From biennials to occupations, Ben Davis and Ara H. Merjian reflect on how the art scene in Athens has responded

Spike Island, Bristol, UK

BY Linda Taylor |

Temple Bar Gallery, Dublin, UK

BY Rebecca O’Dwyer |

Malmö Konsthall, Sweden

BY Matthew Rana |

Manège de Sury, Mons, Belgium

BY Laura Herman |

LISZT, Berlin, Germany

BY Pablo Larios |

Koç University Research Center for Anatolian Civilizations, Istanbul, Turkey

BY Yasmine Seale |

Various venues, Arles, France

BY Christy Lange |

Los Angeles County Museum of Art, USA

BY Jonathan Griffin |

Regen Projects, Los Angeles, UK

BY Chris Wiley |

CULT, San Francisco, USA

BY Larissa Archer |

Tanya Bonakdar, New York, USA

BY Becca Rothfeld |

Park Avenue Armory, New York, USA

BY Laura McLean-Ferris |

Musée d'art contemporain de Montréal, Canada

BY James D. Campbell |

Nomas Foundation, Rome, Italy

BY Mike Watson |

Zero ..., Milan, Italy

BY Nicola Ricciardi |

Long Museum West Bund, Shanghai, China

BY Colin Siyuan Chinnery |

Galleria Continua & Tang Contemporary Art, Beijing, China

BY Carol Yinghua Lu |

Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand

BY Anthony Byrt |

Alchemy, travel and the essay

BY Jennifer Kabat |

Abraham Cruzvillegas talks to Jace Clayton about his approach to art-making and his philosophy of autoconstrucción

BY Jace Clayton |

Q: What should stay the same? A: Nature.

BY Jim Shaw |