I awaited Willie Doherty’s solo show at Galerie Peter Kilchmann in March with a degree of nervousness, knowing that he was to reveal new work made in Zurich. Doherty’s impressive back catalogue is so informed by, and so intimately related to the place and people of Northern Ireland, that I had found his last departure from this specificity – the work at Documenta in 2012 – less successful. I was right to be nervous, but not for those reasons: Doherty’s film Without Trace is an unflinching portrait of this city’s peripheral zones. The narrative about a missing migrant worker speaks of snow and what it hides till spring, while hiding in plain sight are the tasteful but barren new constructions colonising marginal spaces.
Helen Martenis an artist who lives and works in London, UK. In 2013 she had solo shows at Chisenhale, London, CCS Bard, New York, and was included in the 55th Venice Biennale and the 12th Lyon Biennale. She will have a solo exhibition at Sadie Coles HQ, London in January 2014.
Timotheus Vermeulenis Assistant Professor in Cultural Theory at Radboud University Nijmegen, where he also heads the Centre for New Aesthetics. He is co-founding editor of the academic arts and culture webzine Notes on Metamodernism. He is currently completing two books on metamodernism.
Ana Teixeira Pintois a writer from Lisbon, currently living in Berlin. She is finishing her PhD at Humboldt University, and is a regular contributor to the art magazines von100 and Mousse, among others.
Morgan Quaintanceis a writer, musician and curator; he is also the producer of the weekly broadcast radio program ‘Studio Visit’ on Resonance 104.4 FM.
Quinn Latimeris an American poet and critic based in Basel, Switzerland. Her latest book, Describe This Distance (Mousse Publishing, 2013), about the work of Sarah Lucas, was published this year.
What are the histories of artists engaging with emergent technologies? How has Post-Internet art come to be defined? And what happens next? frieze asks eight artists, writers and curators to reflect
