Artipedia - Arts News

Centre Pompidou

Traces du Sacré
7 May - 11 August 2008

Centre Pompidou
Mnam (Galerie 1, level 6), Paris

http://www.centrepompidou.fr

With “Traces du Sacré,” already promising to be one of the major artistic events of the year, the Centre Pompidou returns to the tradition of major multidisciplinary exhibitions that made its reputation, offering a visual exploration of one of the most pressing issues of our time.

Following what has come to be called “the disenchantment of the world,” a significant strain of modern art has found its roots in the turmoil attendant upon the loss of conventional religious belief, a terrain that continues to nourish the development of contemporary forms.

Taking in the whole history of twentieth-century art, from Caspar David Friedrich to Kandinsky, from Malevich to Picasso, and from Barnett Newman to Bill Viola, the exhibition looks at the way in which art to continues to testify, in often unexpected ways, to the existence of a universe beyond, remaining, in a thoroughly secularised world, the profane vehicle of an ineluctable need to rise above the quotidian.

This broad selection of paintings, sculptures, installations and videos brings together some 350 major works – many of them never seen before in France – by almost 200 artists of international renown.

The distinctively multidisciplinary character of the exhibition will be reflected in the Centre’s regular ancillary events, with a programme of film, concerts, video and live performance, a lecture series and a literary colloquium expanding on the theme.

The exhibition is accompanied by a book and a catalogue, both published by Éditions du
Centre Pompidou.

After Paris, the exhibition will travel to the Haus der Kunst in Munich (Germany),
19 September 2008 - 11 January 2009.

THE CONTEXT OF THE EXHIBITION
A distinctive feature of the human species, art makes its appearance in prehistory in close connection with our fundamental concern with the questions of what we are, where we come from, and where we are going.

This link between artistic creation and spiritual uncertainty has been manifest in all the great religions. Since the eighteenth century, however, the West has seen a profound transformation in the relationship between art and religion. The Reformation, the rise of capitalism, the ideals of the Enlightenment,the worship of Reason and the growth of the town all led to what Max Weber called “the disenchantment of the world.”

At the same time, the sense of the withdrawal of the divine that found expression in the Romantics, followed later by Nietzsche’s announcement of the death of God, the advance of science, the emergence of psychoanalysis and the growing influence of Marxism, led to a reconsideration of Man’s place in creation and thus of his relationship to the religious. It was in this landscape of belief violently unsettled that Modern art came to birth. If in the course of this long process the secularisation of society delivered artists from their subordination to the Church, the crisis of religion did not at all mean the disappearance of metaphysical questioning. The argument of this exhibition is that a significant strain of modern art has its roots in such concerns.

The goal of the exhibition is thus to explore the significance of the survival of such questioning throughout the twentieth century, and to show that it continues to fuel the invention of contemporary artistic forms, and as such represents an essential key to the understanding of modern art.

ORGANISATION OF THE EXHIBITION
The exhibition is chronologically organised by thematic sections that successively examine the major aesthetic and spiritual preoccupations of the twentieth century. Each of the twenty themes is also echoed in a contemporary work, demonstrating the continuing actuality of these concerns.

Some examples of thems and artists :

Nostalgia of the Infinite
Ferdinand Hodler, Odilon Redon, Giorgio De Chirico, Kasimir Malevich, Constantin Brancusi, Gina Pane, Pierre Huyghe

The Great Initiates
Akseli Gallen Kallela, Jean Delville, Charles Sellier, Paul Elie Ranson, Rudolf Steiner, Piet Mondrian, Marcel Duchamp, Hugo Ball, Aleister Crowley, Hilma af Klint, Usco, Gino De Dominicis

Apocalypses
Wilhelm Lehmbruck, Vassily Kandinsky, Max Beckmann, Otto Dix, Friedrich Wilhelm Murnau, Maurizio Cattelan, Bruno Perramant

Although it is Night Alfred Manessier, Mark Rothko, Barnett Newman, Arnulf Rainer, Bill Viola, Emmanuel Saulnier, Pierre Buraglio, Jannis Kounellis, Jean-Michel Alberola, Yazid Oulab, Kris Martin,
Eli Petel

Resonances of the Archaic
Roberto Matta, André Masson, Wifredo Lam, Lee Mullican, Wolfgang Paalen, Jackson Pollock, Mark Rothko, Barnett Newman, Robert Smithson, Étienne-Martin, Joseph Beuys, Tobias Collier

Doors of Perception
Henri Michaux, Allen Ginsberg, Brion Gysin, Wallace Berman, Bruce Conner, Jay DeFeo, John Giorno, William Burroughs, Jean-Jacques Lebel, Aldous Huxley, Robert Whitaker, Rick Griffin/Kenneth Anger, Cameron, Aleister Crowley, Harry Smith and Frieda Harris, Isaac Abrams, Jud Yalkut…

Franz Marc, Vladimir Baranov-Rossiné, Erich Heckel, Jean Arp, Paul Klee, Georges Rouault, Christer Strömholm, Francis Bacon, Robert Smithson, Jerzy Grotowsky, Bruce Nauman, Thierry De Cordier

Commissaire général : Alfred Pacquement, director Mnam
Curator : Jean de Loisy
Joint curator : Angela Lampe
Press relations manager : Isabelle Danto
Press officer : Anne-Marie Pereira
anne-marie.pereira@centrepompidou.fr

The Jewish Museum, New York

Willem de Kooning, Gotham News, 1955, oil on canvas. Albright-Knox Art Gallery, Buffalo: Gift of Seymour H. Knox, Jr., 1955, K1955.6. Copyright 2008 The Willem de Kooning Foundation/Artists Rights Society (ARS) New York.

ACTION/ABSTRACTION:
POLLOCK, DE KOONING, AND AMERICAN ART, 1940-1976
May 4 through September 21, 2008

The Jewish Museum
Fifth Avenue at 92nd Street
New York, NY
212.423.3200
Hours: Sat-Wed 11am - 5pm,
Thurs 11am - 8pm

http://www.thejewishmuseum.org

In Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976, the first major U.S. exhibition in 20 years to rethink Abstract Expressionism and the movements that followed, 50 key works by 31 artists – among them Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Jasper Johns, Lee Krasner, Joan Mitchell, Barnett Newman, and Mark Rothko – will be viewed from the perspectives of rival art critics, the artists, and popular culture.

Beginning in the 1940s, artists such as Jackson Pollock and Willem de Kooning created paintings and sculptures that catapulted American art onto the international stage, making New York City the successor to prewar Paris as the mecca for the avant-garde. Two art critics played a crucial role in the reception of the new American painting and sculpture — the highly influential New York intellectuals Clement Greenberg and Harold Rosenberg. In the pages of magazines as diverse as Partisan Review, The Nation, The New Yorker, ARTnews, and Vogue, these critics wrote incisively about seismic changes in the art world, often disagreeing with each other vehemently. By interpreting the significance of the most daring art of their times, their advocacy propelled the artists and their art to the forefront of the public imagination. By the late 1950s, Pollock and de Kooning were virtually household names and Abstract Expressionism was widely known throughout America and internationally.

Action/Abstraction presents major paintings and sculptures from this decisive era, surveying the first generation of Abstract Expressionists as well as later artists who built on their achievements. Context rooms in the exhibition will feature personal correspondence, magazines and newspapers, film and television clips, and photographs that shed light on the cultural and social climate of the 1940s to the 1970s. The works in the exhibition, arranged in thematic sections, are grouped to evoke the rivalry of Greenberg and Rosenberg and the epic transformation of American art in the postwar period.

Following its New York City showing, Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976 will travel to the Saint Louis Art Museum from October 19, 2008 to January 11, 2009, and the Albright–Knox Art Gallery, Buffalo, NY from February 13 to May 31, 2009. The exhibition has been organized by The Jewish Museum in collaboration with the Albright-Knox Art Gallery and the Saint Louis Art Museum.

TEMPO Skien 2008

Found images, Germany 1975.

TEMPO Skien 2008
May 31st - October 4th

Skien, Norway

http://www.temposkien.org

Like a shy teenage boy at the school disco, TEMPO Skien 2008 wants to invite the audience to dance. In this dance, just as at the school disco, you will have your toes stepped on. Everyone will come from afar; it is the season’s big event. The night will unfold and it seems everything will build up to one bold invitation, but only if you are lucky there will be kissing.

At first glance the works in this exhibition are inviting, and it is part of their strategy to make us come closer. Up close the works reveals their true nature. They are not as easy going as you might have thought. The intention was for it to be a wonderfully fun disco night, but instead it’s possible that TEMPO Skien 2008 is about everything lost, drained from memory, forcibly moved away and hidden in the structures of the language. You will discover financial despair, conflict, eternity, trees, local human capital flight, closeness, frozen time, some lost keys and a lost wallet.

Participating artists are: Bjørn Bjarre (N), Åsil Bøthun (N), Stefan Christiansen (N), Matt O’dell (UK), Pål Jomås (N), Morten Kildevæld Larsen (N), Kristina Müntzing (S), Bob & Roberta Smith (UK), Kasper Sonne (DK/USA), Sound of Mu (N), Ellen Karolina Jakobsson Strømsø (S/N), Ingebjørg Torgersen (N) and Sveinung Rudjord Unneland (N)

Curated by: Anne Szefer Karlsen (N)

TEMPO Skien 2008 is the second edition of the annual outdoor exhibition situated in Bryggeparken (The Harbour Park) and the surrounding town centre area in Skien, Norway. The web page is published April 30th and everyone is invited to Sound of Mu, Markveien 58, Oslo to celebrate this with us while listening to John Peter and his Collaborators. The TEMPO Skien 2008 catalogue will be published June 2008 containing the work of Bob & Roberta Smith.

TEMPO Skien 2008 opens Saturday May 31st at 1 PM in Bryggeparken with a guided tour of the exhibition together with the artists and guests.

Saturday May 31st 7 PM Sound of Mu will present their work Man kan ikke se bort fra at det skjer/One shouldn’t discount the possibility it might happen at Oaa hela natten, Nedre Hjellegate 4, Skien with contributions from bands such as Lasso and 3 Øre as well as other surprises. Sound of Mu will present the second part of their project October 4th in conjunction with the TEMPO Skien 2008 seminar on art in the public.

Friday May 30th at 7 PM Pål Jomås’ video work Bruket, kontrollrom nord/The plant, control room north will be presented in Biohallen, Klosterøya, Skien. Thomas Brandt will give the lecture The factory and there will be a barbecue. Bruket, kontrollrom nord/The plant, control room north will after this be possible to see in the guided tours of TEMPO Skien 2008.

Thursday May 29th at 6 PM there will be several artist presentations in Skiens kunstforening, Ibsenhuset, Skien.

GUIDED TOURS starting in Bryggeparken at 1 PM June 1st, June 28th, August 30th, September 7th and October 4th and ending in Biohallen, Klosterøya approximately 2.30 PM.

TRANSPORT
Train from Oslo Central Station to Skien 22 times per day. Bus 194 Grenlandsekspressen from Oslo Bus Terminal to Skien 10 times per day.

Produced by Telemark Kunstnersenter/Odd Fredrik Heiberg.
Design by Petri Henriksson/ http://www.blankblank.no

Stroom Den Haag

Jill Magid, ‘Hummingbird’

Jill Magid, ‘Article 12′
April 20 - June 15, 2008

Stroom Den Haag
Hogewal 1-9
2514 HA The Hague
The Netherlands
Opening hours:
Wednesday-Sunday 12 - 5 pm
T +31-70 3658985
info@stroom.nl
http://www.stroom.nl

Recently the AIVD (Algemene Inlichtingen- en Veiligheidsdienst) took up residence in its newly renovated building in Zoetermeer, The Netherlands. The organization is using this opportunity to improve its image. The American artist Jill Magid was given access into this closed stronghold to research ‘the human face’ of the secret service. It has brought her into contact with its individual ‘employees’, each of whom plays an intrinsic part in the makeup of this face. The result, an exceptional series of works of an outstanding organization, is presented in the exhibition ‘Article 12’ at Stroom Den Haag. The show was realized in cooperation with Huib Haye van der Werf (advisor
Atelier Rijksbouwmeester).

“I was one of the specially trained groups of agents called “the hummingbirds”. The men and women of this group are so valuable that to protect their covers no central file is kept on them and their identities are seldom divulged to other agents. Most hummingbirds remain on assignment as long as they lead active cover lives, usually as high-ranking government officials, military or cultural officials based in foreign countries. Others serve as businessmen, scientists, editors, writers and artists. But I always used to wonder what would happen if a hummingbird vanished, leaving no proof…”
[Quote from ‘Cockpit’ by Jerzy Kosinski, 1975]

Over the last three years Magid has conducted numerous interviews with employees of the AIVD. These conversations took place in bars and non-descript public places. The purpose of these meetings was for Magid to collect personal data of the employees and to use this information to define the organization’s face. The results of these interviews are the newly produced works in the exhibition ‘Article 12’ – the article on the protection of personal data - at Stroom. Each work in the show reveals specific characteristics of the participating AIVD employees but never discloses their identities entirely.

Ultimately the process of her method defined the outcome: what was made and what was left unresolved. The product of this outcome is a variety of visual, textual, and conceptual works. Through the exhibition at Stroom, the AIVD is presented publicly, in a gallery context where the Organization becomes the observed rather than the observer. The link with the core-organization however, is ever present as the opening of the exhibition in Stroom coincided with that of the AIVD’s renovated building, as well as one of the works being present at both locations. Stroom can be seen as an auxiliary of the AIVD, and vice-versa.

Jill Magid (1973, USA, lives and works in New York and Amsterdam) seeks intimate relations with impersonal structures. She is intrigued by hidden information, being public as a condition for existence, and intimacy in relation to power, manipulation, and observation.

Special thanks to: Mondriaan Stichting and Atelier Rijksbouwmeester.

Mudam Luxembourg

Musée d’Art Moderne Grand-Duc Jean (Mudam Luxembourg), illustration: Jean-Christophe Massinon, 2008.

The Fondation Musée d’Art Moderne Grand-Duc Jean,
Mudam Luxembourg, Seeks General Director (m/f)

http://www.mudam.lu

A successful candidate must hold a degree in Fine Arts or Cultural Management, as well as be a confirmed and recognised expert in the area of modern and contemporary art. Furthermore, he must have experience in a similar position, either in a major museum or have managed an arts centre or a modern and contemporary arts museum. He must be bilingual (French, English). Knowledge of Luxembourgish or German shall be considered an asset.

Job description
• Administrative management of the museum and implementation of the decisions of the Board
of directors
• Artistic direction of the Museum
• Personnel management
• Responsibility for programming and the budget

The beginning of the contract is foreseen for January 2009. The contract duration shall be 5 years, renewable. The salary shall be commensurate with the responsibility of the task and the required competences. Furthermore, it shall depend on previously acquired experience.

Cover letters, along with a detailed CV and a cultural project, shall be sent for the attention of the President of the Fondation Musée d’Art Moderne Grand-Duc Jean to the following address before the 16th June 2008:

For the attention of
Président de la Fondation
Musée d’Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen / L-1499 Luxembourg

Tel. +352 45 37 85 428
president@mudam.lu
http://www.mudam.lu

Alta Tecnologia Andina

LA PALABRA DE LOS MUDOS
An action by Jota castro
May 15th, 2008, 11.30 hrs (GMT -5)

Playa Redondo. Miraflores City,
Lima, Peru

http://www.lapalabradelosmudos.org

Co-produced by Alta Tecnología Andina - ATA
Supported by the Prince Claus Fund, Deliveri and the Miraflores City Council

On May 15th, Jota Castro is carrying out an action envisaged to gather several thousand people on one of the beaches of the district of Miraflores, the modern commercial and leisure city-centre of Lima, for a setting that has all the characteristics of a political rally, with a stage, a speaker, and an on-stage screen projection of the speaker in close-up. The particularity of that it will be carried without utterance of a single (spoken) word. The performance will involve the use of Sign Language exclusively. The whole action or performance is a statement, a symbolic statement. This event will coincide with the V Summit of Heads of State and Government of Latin America, the Caribbean and the European Union, which is set to promote a stronger and more effective partnership and closer political dialogue between both sides of the Atlantic.

Jota Castro is a Peruvian artist, living in Brussels who worked in the diplomatic service for two decades. In the late 1990s he left his career as a diplomat at the United Nations and the European Union and decided to devote himself totally to the field of art. Through his different professional activities, Castro has gained in-depth knowledge of the world of international politics; moreover, he considers his university studies in Law and Political Science as his real training in art. Conjuring up the political scene of today in European countries, often through oblique manoeuvres; the critical social issues that are (or should be) the conundrums for political leaders, with his brand of humour that gets the acid best of apparently trivial situations; his acutely developed and directed, politically incorrect sarcasm; and a wide range of social and cultural references, with or without specific historical relevance. He has participated in the Venice, Tirana, Prague and Kwangju
biennales. He won the Gwandju biennale prize in 2004 in Korea.

Alta Tecnologia Andina – ATA [ http://www.ata.org.pe ] is a non-profit cultural organization, created with the objective of helping the development of a new critical and dynamic culture based on the use and growth of the relations between art, science and technology in Latin America. Based in Lima, Peru, it encourages and supports projects and activators in every field of human endeavour, committed to the use and exploration of technologies, media and culture as we seek to develop areas of communication and dissemination of knowledge to contribute to our societies’development through an understanding the use of technology in a critical way.

La palabra de los mudos
Info + Press contact: lapalabradelosmudos@ata.org.pe
Telephone: 00(511) 620.6090 ext. 613
00(511) 997571305
Web: http://www.lapalabradelosmudos.org

Softness

Softness
(Plastic Arts)

The work of the plastic artist Suca Mattos Mazzamati represents another side of nature, flowers, plants and landscapes. We can see in the details the harmony and lightness between colors and shapes. The exhibition could have no other name than “Softness”. The artist not only represents the softness, she “goes for” that softness.

The softness of the synthesis of discrete chromotic sense, collage of fabrics and going through the intensity of color. There are so much to see and feel. The colors are bright but not extravagant, they are also soft, calm and peaceful.

Opening: May 16, 7:00 PM
Until May 31, from 1:30 PM to 7:00 PM.

Colorida Art Gallery
Costa do Castelo 63, Lisboa - Portugal
Tel 351 211 512 142
www.colorida.pt

Public transportation: Metro Martim Moniz, Electrico 28, Electrico 12, Autocarro 37
Parking: Portas do Sol - Alfama

Reykjavik Art Museum

Reykjavik Experiment Marathon
15 May - 24 August 2008

Curated by Olafur Eliasson and
Hans Ulrich Obrist

Reykjavik Art Museum – Hafnarhús

http://www.artmuseum.is

Reykjavik Experiment Marathon will bring together over forty renowned artists, architects, film-makers, and scientists from the international community for a two-fold event at the Reykjavik Art Museum—Hafnarhús: a large-scale, three month-long exhibition and a laboratory conducting its work before the public eye during the opening days of the exhibition (Friday May 16th and Sunday May 18th).

The exhibition and related events are curated by Hans Ulrich Obrist, Co-Director of Exhibitions and Programs and Director of International Projects, Serpentine Gallery, London, in collaboration with artist Ólafur Elíasson.

Participants in Reykjavik Experiment Marathon are Marina Abramovic, David Adjaye, Einar Thorsteinn Ásgeirsson, Fia Backström, John Baldessari, Thomas Bayrle, John Brockman, Peter Coles, Tony Conrad, Carlos Cruz-Diez Attila Csörgö, Brian Eno, Ólafur Elíasson, Erró, Jimmie Durham, Ivana Franke, Hreinn Fridfinnsson, Gabríela Fridriksdóttir, Yona Friedman, Aurélien Froment, Abhishek Hazra, Hilmar B. Janusson, Hekla Dögg Jónsdóttir, Kristján Leósson, Karl Ægir Karlsson, Darri Lorenzen, Jonas Mekas, MM, Gustav Metzger, Matthew Ritchie, Pedro Reyes, Luc Steels, Tomas Saraceno, Carolee Schneemann, Thorsteinn I. Sigfússon, Katrín Siguoardóttir, Rirkrit Tiravanija, Tris Vonna-Michell, Thor Vilhjálmsson, Emily Wardill, Dr. Ruth Westheimer.

Reykjavik Experiment Marathon is the centrepiece of the 2008 Reykjavik Arts Festival. It is a joint project of the Reykjavik Art Museum and the Serpentine Gallery and builds on the enormous success of the recent Serpentine Gallery marathons which have taken place in successive Serpentine Gallery Pavilions. Main sponsors of the exhibition are Reykjavik Energy and Icelandair.

A book accompanying the exhibition, with texts by Bruno Latour, Olafur Eliasson and others, will be available from Buchhandlung Walther König.

Also as part of The Reykjavík Arts Festival are two major exhibitions at Reykjavik Art Museum—Kjarvalsstadir opening on May 18th. The exhibition Dreams of the Sublime and Nowhere in Contemporary Icelandic Art presents new work by thirteen Icelandic artists, ranging from panoramic landscape photographs to multi-media installations. The exhibition is sponsored by Landsbanki.

The second exhibition at Kjarvalsstadir is a commissioned outdoor installation in the museum’s courtyard by artist/landscape architect Martha Schwartz. The extensive installation, entitled I Hate Nature, alludes to the debate over environmental protection versus exploitation. The main sponsor of this exhibition is Ingibjörg Kristjánsdóttir. The work is commissioned on the occasion of the Association of Icelandic Landscape Architects’ 30th anniversary.

Media Contact:
For further information, interviews and images, please refer to the following contacts:
Soffía Karlsdóttir
PR and Communications Director
Reykjavík Art Museum
T: +354 590 1200
F: +354 590 1201
E: soffia.karlsdottir@reykjavik.is

Castello di Rivoli

Roberto Cuoghi
Pazuzu (Progetto per il Castello di Rivoli), 2008
digital drawing
variable dimensions
Courtesy of the artist

Roberto Cuoghi. Suillakku
May 6 - July 27, 2008

Curated by Marcella Beccaria

http://www.castellodirivoli.org

With its “New generations” series the Museum showcases the work of young artists who are emerging on the international stage. Curated by Marcella Beccaria, the series began in 2000 presenting solo exhibitions of Franz Ackermann, Teresita Fernández, Anna Gaskell, Francesco Vezzoli, Thomas Demand, Candice Breitz and Yang Fudong.

With this new solo exhibition the Museum is presenting the work of Roberto Cuoghi (Modena, 1973), one of the most interesting Italian artists working today. Experimenting to the point of obsession, Cuoghi continuously reinvents himself and his method, working with a wide range of techniques, including photography, video, animations, painting, drawing and sound. In particular, Cuoghi has developed a personal investigation of the principle of metamorphosis. At the age of twenty-five he embarked on a path of physical transformation that lasted seven years and led him to age his appearance so he would resemble his father. Refusing to call this process a performance and to execute related works, the artist instead transferred his interest in the idea of metamorphosis into new works.

For Cuoghi, the invitation to develop a solo exhibition at Castello di Rivoli is an opportunity to make a vertiginous leap backward. Landing in Mesopotamia, at the time of the ancient Assyrians, the artist focuses on the most dramatic moment, when the empire fell into ruin and Ninevah is about to fall victim to attacks by the enemies. Made up of an imposing sound work and a monumental statue of the demon Pazuzu, the exhibition Suillakku, is the result of this latest metamorphosis on the part of the artist. A voyage in an apparently remote world, the project gives back the uncomfortable sensation of an irrational world, within which the past no longer seems remote and instead becomes a disquieting interpretation of a present that is all too near.

In conjunction with the exhibition Suillakku, Skira, Milan is publishing an in-depth catalogue on the work of Roberto Cuoghi. The book includes an essay by the curator, complete biographical and bibliographical appendices and images of most of the works the artist has created.

For information
Press Office, Castello di Rivoli Museo d’Arte Contemporanea,
tel. +39/011.9565209 - 211,
fax +39/ 011.9565231
e-mail: press@castellodirivoli.org , s.bertalot@castellodirivoli.org

REGIONE PIEMONTE / FONDAZIONE CRT / CAMERA DI COMMERCIO INDUSTRIA ARTIGIANATO E AGRICOLTURA DI TORINO / CITTA’ DI TORINO / UNICREDIT PRIVATE BANKING –
GRUPPO UNICREDIT

MUSEO D’ARTE CONTEMPORANEA
Piazza Mafalda di Savoia - 10098 Rivoli (Torino) - Italia
tel. +39/011.9565222 – 9565280 fax +39/011.9565231
e-mail: info@castellodirivoli.org
http://www.castellodirivoli.org

frieze

frieze 115: Out Now

Additional exclusive content online at frieze.com

This month in an issue of frieze looking at film and photography…

Brian Dillon laments the decline of the technologically sophisticated but rapidly outdated Polaroid camera, a ‘curious dead end in the history of photography’.

David Campany considers the quietly meditative films of Mark Lewis, which fuse pictorial traditions with the art of movement.

In Marine Hugonnier’s films, referred to by the artist as ‘an anthropology of images’, Lars Bang Larsen considers the politics of vision. See frieze.com for an extract from her film The Secretary of the Invisible (2008).

Christy Lange discovers an unsettling side to the American Dream in Taryn Simon’s photographs of restricted locations and private moments.

Rosalind Nashashibi has said that it is the medium of film that most closely approximates the processes of thinking; Martin Herbert looks at her work and discovers why.

Watch Nashashibi’s film Eyeballing (2005) online this month at frieze.com

Jonathan Griffin reflects on Brian Griffiths’ installations and sculptures, which ‘drag their historical baggage towards an imaginary future’.

In the Melbourne City Report, Max Delany and Nicola Harvey explore a city that oscillates between a frontier town and a multicultural metropolis.

In the Front section, Aaron Schuster iterates no less than 35 rules that define a contemporary work of art. Robert Storr examines the complex relationship between philanthropists and museums. Nicolas Bourriaud details the books that have influenced him in a new series ‘Ideal Syllabus’ and Mark Leckey discusses his favourite films.

And frieze considers the work of Nicholas Hlobo, Jimmy Robert, Li Dafang and Tatiana Trouvé in the regular Focus feature section. Plus a further 25 exhibition reviews, including the Whitney Biennial 2008, the 5th Berlin Biennial and exhibitions from Australia, Brazil, China, France, the UK, USA
and more.

Exclusively online at frieze.com

Nick Currie rounds up recent art world events, exhibitions and goings-on in Japan.

Design critic Jennifer Kabat uncovers the secret history of the Apple logo.

9/11, Susan Sontag and relativism; Ron Jones begins a new column for frieze.com with a two-part essay on language.

Mark Fisher reviews some recent music releases.
Plus weekly reviews of current exhibitions from London, New York, Paris, Berlin and beyond.

………………

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