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frieze issue 111 out now
http://www.frieze.com

In the November - December issue of frieze, Tom Morton examines the sculptures and installations of Charles Ray, whose new work continues to explore themes of space, objecthood and mimesis. Benjamin Weissman reflects on the humorous, psychological, abstract pictures of Christopher Wool.

Sam Thorne considers the seductively idiosyncratic practice of Michael Fullerton, and Melissa Gronlund discusses Lucy Skaer’s meditations on senselessness and beauty in drawings, films and sculptures. Peter Eleey looks back at the Artist Placement Group’s strategy of incorporating art into the world of business, whilst Bert Rebhandl is impressed by a new era of Romanian filmmaking. Santiago García Navarro looks at the socially oriented work of Argentinian artist Roberto Jacoby and Siobhán Hapaska responds to the back page questionnaire.

In the Front section Robert Storr admires Sol LeWitt’s approach to art and life, Brian Dillon explores Istanbul’s Atatürk Cultural Centre and Tirdad Zolghadr asks if Berlin is the new Cairo. Irene Cheng looks around the new New Museum, and Simon Reynolds reflects on the influence of the band Public Image Ltd. In Life in Film, frieze asks James Benning to reflect on the movies that have influenced him.

The Back section includes 25 reviews from Australia, China, Estonia, France, Germany, Greece, Ireland, Lithuania, Los Angeles, Mexico, Norway, the UK and the USA, including Wang Luyan, ‘Primavera’, Thea Djordjadze, Michael Raedecker, Minerva Cuevas, Peter Friedl, Chicks on Speed and David Adjaye.

frieze.com
Online this month at frieze.com Joerg Heiser discovers Ai Weiwei’s compound among the bustle of Beijing in a two-part China report and Daniel McClean considers ethical rights for artists in the polemical case of Mass MoCA v. Christoph Büchel. Daily reviews include: ‘Corporate Logo’ at Art in General, Enrico David at the ICA and ‘The Third Mind’ at the Palais de Tokyo. Video links to accompany articles in frieze 111 include works from, Haris Epaminonda, Torsten Lauschmann, Corey McCorkle and
Lucy Skaer.

To celebrate the launch of frieze.com, for a limited time visitors can also access the complete frieze archive for free — a unique research tool combining 16 years of monographs, features, reviews and images all searchable by writer, city, gallery or artist.

Reykjavik Art Museum

Attending 1973
Two colour photographs
Each: 55.5 x 70 cm
Courtesey of the artist and i8 Gallery, Reykjavik

Hreinn Fridfinnsson
02 November 2007 -27 January 2008
Reykjavik Art Museum
+354 590-1200
+354 820-1202
soffia.karlsdottir@reykjavik.is
http://www.listasafnreykjavikur.is

Hreinn Fridfinnsson is a great Icelandic hero. He gives the subtleties of life a language.
Olafur Eliasson, 2007-10-08

A retrospective of one of Iceland’s leading conceptual artists, Hreinn Fridfinnsson, will open at the Reykjavik Art Museum — Hafnarhús on November 2. The exhibition, which spans four decades of Fridfinnsson’s work, was initiated and produced by the Serpentine Gallery in London, where it was on view earlier this year.

Encompassing sculpture, drawing and photography as well as installation, Fridfinnsson’s work has been celebrated for its lyricism and stark poetry. Text and storytelling also figure prominently in his work. He often presents found objects with which he interferes as little as possible, creating new works that explore ideas of the self and time.

A work from the 1970s, where Fridfinnsson produced a magazine advertisement that invited the public to send him their secrets, will be recreated in conjunction with the exhibition. The work was also re-produced in London as part of the exhibition at Serpentine.

Hreinn Fridfinnsson was born in the north-west part of Iceland in 1943. He gained prominence as a leading figure of the Icelandic avant-garde after founding SÚM with three other artists in Reykjavik in 1965. He moved to Amsterdam in the early 1970s and has been living and working there ever since. In the year 2000 he received the Carnegie Art Award’s second prize and was also awarded the
Ars Fennica Prize.

Sponsored by Kaupthing Bank.

For more information please contact:
Soffía Karlsdóttir + 354 590-1200 / +354 820-1202
or soffia.karlsdottir@reykjavik.is

Agnes Etherington Art Centre

Terrnace Houle and Jarusha Brown
Untitled, 2006, from the Urban Indian Series
Photo: Don Lee, Courtesy the Walter Phillips Gallery,
The Banff Centre

WORLD UPSIDE DOWN
20 October to 17 February
Agnes Etherington Art Centre
Queen’s University
Kingston Ontario
Canada K7L 3N6
tel 613.533.2190
fax 613.533.6765

http://www.aeac.ca

Through works from a range of cultures, genres and periods, World Upside Down looks at the ways in which artists have used role reversal and displacement as a subtle (and not-so-subtle) tool of social satire. Exhibition curator Richard William Hill invites us to imagine a very different world, one where Superman is a Soviet hero, killer rabbits hunt humans, and British aristocrats dressed in “African” fabrics lose their heads. He explains, “The world upside down is one in which the symbolic order is turned on its head. As an artistic strategy, symbolic inversion illuminates and challenges the visual conventions that police social hierarchies.”

Featuring work by artists Ahmoo Angeconeb, Lori Blondeau, T.C. Cannon, Renée Cox, Jack Daws, Rosalie Favell, General Idea, Cheryl L’Hirondelle, Terrance Houle and Jarusha Brown, Goyce Kakegamic, Jim Logan, Shelley Niro, Roger Shimomura, and Yinka Shonibare, the show additionally draws upon popular culture, including films such as Planet of the Apes and Monty Python and the Holy Grail, the DC comic Superman: Red Son by Mark Millar, and In the Shadow of No Towers, by Pulitzer Prize-winning cartoonist Art Spiegelman.

Terrance Houle and Jarusha Brown’s billboard images from the Urban Indian series will be on view at the intersection of Princess and Division Streets in downtown Kingston, 22 October to 18 February. In this series of sweetly parodic images, Houle performs mundane tasks of daily life while dressed in full powwow regalia to highlight the perceived, but far from actual, schism between traditional indigenous identity and contemporary life.

World Upside Down opens with a curator’s walk-through tour of the exhibition at 8 pm on Saturday, 20 October, followed by the opening reception. Terrance Houle’s Casting Call–a participatory performance in which natives audition for roles as white actors playing natives–takes place on the same day at 2 to 5 pm and 7 to 8 pm. Richard William Hill will present the Rita Friendly Kaufman Lecture on Sunday 21 October at Ellis Hall Auditorium, Queen’s University from 2 pm. Additional programs are planned for the winter: details will be posted at http://www.aeac.ca

World Upside Down is curated by Richard William Hill, organized by the Walter Phillips Gallery, The Banff Centre and produced in collaboration with Agnes Etherington Art Centre, Art Gallery of Greater Victoria, and the Musée d’art de Joliette. This exhibition is presented with the support of the Museums Assistance Program of the Canadian Department of Heritage, the Canada Council for the Arts and the Ontario Arts Council, an agency of the government of Ontario.

For further information, please contact Matthew Hills at 613-533-2190 or refer to the Agnes Etherington Art Centre website: http://www.aeac.ca