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The provocative and politically prescient exhibition grapples with hard truths and traumatic histories 

BY KJ Abudu |

In the artist’s largest survey to date, science fiction and narratives of black resistance offer a vision of a more inclusive future

BY Esmé Hogeveen |

Award-winning art teacher Andria Zafirakou’s Artists in Residence programme has the support of Jeremy Deller, Michael Craig-Martin and Gavin Turk

From a wild child to a talking mongoose: what to read this weekend

BY Paul Clinton |

From a short history of plagiarism to Trisha Brown's walk: what to read this weekend

BY Paul Clinton |

From Frantz Fanon’s hidden humanism to medieval fan fiction: what to read this weekend.

BY Paul Clinton |

Zwanzig auf einem Spiegel zu Johann Strauss‘ An der schönen blauen Donau tanzende Vibratoren im Tutu, deren kontinuierliches Vibrato durch Kontaktmikrofone verstärkt wird – dieses „Ballett“ von Christina Kubisch feierte zum Abschluss ihrer Ausstellung Vibrations bei Rumpsti Pumsti, einem von Daniel Löwenbrück betriebenen Plattenladen und Ausstellungsraum in Berlin, seine längst überfällige Premiere. Denn auch wenn die Partitur zu Corps de ballett – so heißt das Stück – bereits aus dem Jahr 1979 stammt und ursprünglich für eine Performance im Palazzo Grassi in Venedig konzipiert worden war, wurde sie doch nie aufgeführt. Sie ist Teil der titelgebenden Serie der Vibrations bzw. Dirty Electronics (Impossible Projects), die Kubisch 1975 begann, und von der auch in der Ausstellung zum Teil nie zuvor gezeigte Arbeiten und Zeichnungen zu sehen waren: darunter die Arbeit Klangkörper (1977), eine vierteilige Soundskulptur, bei der jeweils eine in einer Holzkiste liegende Querflöte von einem Vibrator umkreist wird, samt hiermit zusammenhängender Skizzen sowie Videostills, Partitur und Kompositionsskizzen unterschiedlicher Fassungen von Vibrations (1976/77), bei der die Mitglieder eines Streichquartetts dabei zu sehen sind, wie sie statt Bögen Vibratoren einsetzen.

BY Fiona McGovern |

Über Michaela Meliáns neues Album Monaco und die Debütsingle des Düsseldorfer Disco-Projekts Ex Versions

BY Thomas Hübener |

Accompanying his essay in frieze d/e, issue 6, Mark Prince selects his top 10 texts (and film) about painting.

BY Mark Prince |

‘You Killed Me First: The Cinema of Transgression’ at the Kunst-Werke in Berlin, is a first-time museum presentation devoted to a group of New York underground filmmakers of the 1980s. To this end the institution has painstakingly converted its exhibition spaces into a kind of über-gritty dungeon, vying, it seems, to deliver as authentic a backdrop as curatorially feasible to present 18 films for a strictly 18+ audience. The theme park-like recreation of the once sketchy, run-down Lower East Side featured touching details like professionally executed out-of-control smudges of black paint covering all windows, minutely stopped short from spilling over to the walls.

BY Daniel Horn |

Lucy McKenzie’s work as part of the collaborative fashion studio, Atelier, embodies the artist’s enquiries into a romanticized past shot through with mythical meaning

BY Michael Bracewell |

How are artists visualizing the financial crisis?

BY David Adler |

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

BY Chris Wiley |

We invited 20 artists who have been on the cover of frieze to nominate a contemporary artist whose work inspires them

We are currently witnessing a profound cultural implode which mirrors in its intensity the recent economic collapse. As the markets round on nations unable to sustain the debt brought upon them through bank bail-outs, and as the proverbial house of cards looks set to spectacularly fall once again, the arts assumes a familiar historical position.

BY Mike Watson |

The work of William Leavitt reflects upon Los Angeles’ faded visions of the future, bourgeois taste and the scientific sublime by Jonathan Griffin

Why a growing number of artists are turning away from image-making to writing and performance

BY Dieter Roelstraete |

The little-known photographs of a pioneering photography collector; an artist’s project

Öyvind Fahlström

BY Daniel Birnbaum |