Issue 132
Jun – Aug 2010

Meditations on time and place permeate the Summer issue of frieze. Following R.H. Quaytman‘s recent appearance in the 2010 Whitney Biennial and her solo show at Boston’s ICA, Steven Stern looks at the visual rhyme and resonance in her paintings and their telescopic sense of déjà vu; Brian Dillon explains how Fiona Tan‘s depiction of places as varied as Brighton Pavilion and the Swedish island of Gotland form her explorations of temporal and geographical isolation.

Christy Lange looks to sites of conflict in her exploration of the limitations of photojournalism and the ethics of artistic representation, and, as the UK encounters its first coalition government since 1945, Sam Thorne’s ‘State of the Art’ editorial considers those events that most acutely arrest us in both time and place, elections: ‘As well as providing a highly-strung pause, the oddities of election night might also be a means to focus.’

From this issue

The mingling of art and elections

BY Sam Thorne |

At frieze we receive hundreds of emails every day from artists, galleries and public relations companies around the world. We would like to share some excerpts with you. Names have been blocked out to protect the guilty. But they know who they are.

Travelling to find the archive of the late Argentine artist Edgardo Antonio Vigo

BY Robert Storr |

An updated style bible heralds the return of the preppy

BY George Pendle |

How we’re getting used to the view from above

BY Jennifer Allen |

Shanghai Expo 2010 is the most recent incarnation of the Great Exhibitions that began in London in 1851

BY Douglas Murphy |

A new book documents 17 years of projects by art collective Group Material

BY Lars Bang Larsen |

In an ongoing series, frieze asks an artist, curator or writer to list the books that have influenced them

Four new dystopian sci-fi novels set in the UK

BY Mark Fisher |

A handful of recent DJ mixes and online experiments point the way to a more communal form of listening

BY Geeta Dayal |

Memory, exile and cultural heritage in the films of Fiona Tan

BY Brian Dillon |

From American Modernism to museum archives and the legacy of her artistic family, R.H. Quaytman telescopes time and place

BY Steven Stern |

The limitations of photojournalism and the ethics of artistic representation

BY Christy Lange |

Drawing connections between architectural models, painting and Utopian settlements in the work of Ian Kiaer

BY Jonathan Griffin |

Looking into the myriad ways in which contemporary artists have been dealing with their ambivalent relationship to the ready-made

Memory, fantasy and fiction; erotic novels, subversive histories and the cello

BY Kirsty Bell |

Imposition, discipline and confinement; wooden tunnels, metal corsets and classrooms

BY Noemi Smolik |

Quotation, collaboration and dissemination; ice lollies, art magazines and floral foam

BY Dominic Eichler |

Composer Nico Muhly talks to Dan Fox about his relationship to music, cooking and collaboration

BY Dan Fox |

Despite the country’s insularity, Switzerland’s art scene is thriving

BY Quinn Latimer AND Daniel Binswanger |

Various Venues, Glasgow, UK

BY Jonathan Griffin |

350 West Broadway, New York, USA

BY Mark Beasley |

Fundaçao Serralves, Porto, Portugal

BY Chris Sharp |

Royal College of Art, London, UK

BY Martin Herbert |

Neue Galerie New York, USA

BY Ara H. Merjian |

Kunstverein Hanover, Germany

BY Luca Cerizza |

Institute of Contemporary Art, Philadelphia, USA

BY Katie Kitamura |

Galerija Gregor Podnar, Berlin, Germany

BY Mark Prince |

Eastside Projects, Birmingham, UK

BY Sam Thorne |

kurimanzutto, Mexico City, Mexico

BY Jessica Berlanga Taylor |

Fondazione Sandretto Re Rebaudengo, Turin, Italy

BY Barbara Casavecchia |

Flat Time House, London, UK

BY Colin Perry |

Mitchell-Innes & Nash, New York, USA

BY Anne Wehr |

De Appel Boys' School, Amsterdam, The Netherlands

BY Douglas Heingartner |

Culturgest, Lisbon, Portugal

Eighth Veil, Los Angeles, USA

BY Andrew Berardini |

Carl Freedman Gallery, London, UK

BY Kari Rittenbach |

Reena Spaulings Fine Art, New York, USA

BY Dan Fox |

Western Bridge, Seattle, USA

BY John Motley |

Nicolas Krupp, Basel, Switzerland

BY Quinn Latimer |

FDC Satellite, Brussels, Belgium

BY Esperanza Rosales |

Max Wigram Gallery, London, UK

BY Laura Allsop |

Metropolitan Opera, New York, USA

BY Leora Maltz-Leca |

Tanya Leighton Gallery, Berlin, Germany

BY Kirsty Bell |

Storefront for Art and Architecture, New York, USA

BY Geeta Dayal |

What do you like the look of? Waves breaking: little ones and big ones