Issue 98
April 2006

Michael Bracewell talks to Ralf Hütter of Kraftwerk about the bands past and future in art and music and Jörg Heiser talks to Throbbing Gristle about their first album in 25 years.

Jan Verwoert is enthralled by the films of Jonas Mekas, a personal testament to friendship, exile and the flow of history.

Sue Tompkins responds with a specially commissioned artwork for frieze, to Jennifer Higgies feature on her work.

Mark Godfrey explores the exuberant sculptures, melodramatic videos and discursive performances of Damián Ortega, Catrin Lorch considers Dan Perjovschis assault on the white cube and Tom Morton contemplates Angela Bullochs use of light, sound, text, video and objects to explore the systems that organize our behaviour. Also featured: Brian Jungen by Craig Burnett, Loris Gréaud by Tom Morton, Uwe Henneken by Kirsty Bell and Cris Brodahl by Melissa Gronlund. 

From this issue

From their origins in the art student bohemia of Dusseldorf nearly 40 years ago to their iconic status today as pioneers of Techno, Kraftwerk have never compromised their singular aesthetic. An interview with Ralf Hütter

14 APR 06

London School of Economics, UK

01 APR 06

Art for sale, the media, fictional Europe and moribund Punk

01 APR 06

In staging large-scale participatory events, artists are creating new narratives for our cultural landscape

BY Nancy Spector | 01 APR 06

Whit Stillman’s re-released film trilogy is a celluloid portrait of wealthy young New Yorkers in search of a sense of identity

01 APR 06

Trying to see the big picture on a visit to London

01 APR 06

Plans are afoot to transform the derelict yet ultra-moderne Battersea Power Station into a giant leisure complex

01 APR 06

Kara Walker’s film 8 Possible Beginnings, or the Creation of African-America; a Moving Picture by the Young, Self-Taught, Genius of the South, K.E. Walker (2005) was screened at Sikkema, Jenkins & Co., New York in March. Her exhibition ‘After the Deluge’ is on view at the Metropolitan Museum of Art, New York until 25 June. She lives and works in New York.

01 APR 06

Russell Haswell and Florian Hecker unleash the potential of Iannis Xenakis’ UPIC sound system

01 APR 06

From their origins in the art student bohemia of Dusseldorf nearly 40 years ago to their iconic status today as pioneers of Techno, Kraftwerk have never compromised their singular aesthetic. Ralf Hütter talked to Michael Bracewell

BY Ralf Hütter | 01 APR 06

Sue Tompkins’s performances and exhibitions explore the shifts and ruptures of reverie, recollection and allusion

BY Jennifer Higgie | 01 APR 06

From exuberant sculptures to melodramatic videos, sentimental films and discursive performances Damián Ortega disrupts forms even as he creates them

01 APR 06

Using light, sound, text, video and objects, Angela Bulloch makes art that explores the systems that organize our behaviour

01 APR 06

Dan Perjovschi’s simple drawings and cartoons mount a fleeting assault on the white cube

01 APR 06

Owls, Inuits and cultural collision; museums, marketing and clichés

01 APR 06

Ghosts, spells and invisible architecture; ducks, David Lynch and the smell of Mars

01 APR 06

Throbbing Gristle’s first album in 25 years will be released later this year. frieze talked to band members Cosey Fanni Tutti, Chris Carter, Peter ‘Sleazy’ Christopherson and Genesis Breyer P-Orridge

01 APR 06

An oak tree, allegory, spirituality and the Grotesque

01 APR 06

Since the early 1960s, Jonas Mekas has been documenting his life on film, creating a personal testament to friendship, exile and the flow of history

01 APR 06

In the late 1970s, the streets that gave birth to Punk were a bleak and desolate playground for the imagination

BY Jon Savage | 01 APR 06

Femininity, decay; beauty, violence, representation

01 APR 06