Features

Showing results 1041-1060 of 1567

Pleated fabrics, dresses and made-to-measure sculptures; cigarettes, tailoring and shop windows

BY Sam Thorne |

A Dutch–Arabic typography project shows increasing compatibility between strikingly different languages and cultures

BY Eugenia Bell |

Working through abjection and attraction, the sculptures of the late Alina Szapocznikow engender the politics of emotion

BY Jan Verwoert |

From tableaux vivants to Photoshop, the philosophical and optical enquiries of Pietro Roccasalva inevitably return to painting

BY Jonathan Griffin |

I spend a fair percentage of my time here at frieze opening post, press releases and emails – anything from unsolicited artists’ monographs to generic e-flux reminders. Don’t get me wrong – I don’t think the job is below me. In fact, I find it a secretly enjoyable task. And I’m not trying to brag, but I’ve devised what I think is a pretty organized filing system by which I sort the thousands of emails and invitations by region, creating a special stack on my desk for the most interesting and putting a little orange ‘flag’ next to emails about important exhibitions in geographically-divided email folders. Nevertheless, there are some emails and letters that stubbornly evade my ingenious filing system, yet I don’t have the heart to delete them or toss them in the bin. These are the updates from toothpick sculptors, artists hawking their portraits of Putin, e-blasts about female pirates, and the like. Until now, I’ve been putting them in a folder that I simply call ‘mailbag’. And now, dear readers, because I don’t know what to do with them, I hereby open my frieze Berlin office mailbag for you – extracting the good, the bad, the tasteless, the intriguing, the bizarre, the absurd, the cringe-worthy, the inspired. Enjoy!

Our first entry comes from the gender-insensitivity department. Here’s a press release I received announcing: “Global Art Show Inspires New Perspective on Gender-Based Violence”. The show features 32 artists whose work deals with violence against women. The title of the show? “Off the Beaten Path”. You can’t make this stuff up, people. The exhibition comes to Tijuana, February 5, 2010.

Equally curious was this email, announcing an exhibition by a Paris- and Shanghai-based artist:

Dear friends,

please note my upcoming exhibition “vomiting world” at Gallery Teapot.

Kind regards

...........................

And there’s lots more where these came from.

BY Christy Lange |

Explorations in size and scale in recent Japanese sculpture

BY Edward Allington |

Extravagant, experimental and often improvised: the spirit of young artists in British film

BY Michael Bracewell |

Novelist and artist Douglas Coupland’s pop-modern second residence in West Vancouver

BY Shumon Basar |

Mining the politics of imagery through the works of the late German filmmaker

BY Coco Fusco |

Norwegian artist and novelist Matias Faldbakken responds to socio-political sore points with ambivalence and provocation

BY Dominic Eichler |

American artist Jonathan Horowitz employs contemporary culture as his medium

History and the future; East and West; community and isolation

BY Nicola Harvey |

Mute, restrained objects and photographs; eloquent but evasive literary references

BY Christy Lange |

Role-playing and cultural identity; a maharaja, a dandy, a queen and a hairy ‘native’

BY Zehra Jumabhoy |

A new exhibition and publication examine the evolution of Marcel Duchamp’s most enigmatic work

BY Thomas Girst |

An homage to, meditation on, conversation with and analysis of the multi-faceted, 50-year career of John Baldessari

BY Benjamin Weissman |

Employing media as diverse as a suspended caravan and a levitating donkey, Lara Favaretto unearths the romance and possibility buried in futility

BY Tom Morton |

Quiet afternoons and meditations on the malleability of time

BY Jennifer Higgie |

Cultural and subjective mobility; biography, fantasy, myth and rumour

BY Jonathan Griffin |

Abstractions of sound and image; the meeting of purity and distortion

BY Michael Wilson |