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frieze magazine

Issue 137

March 2011

In the March issue of frieze, Peter Schjeldahl examines the use of pronouns, cites a good example of writing in Wallace Stevens and even makes a case for his profession: ‘Attention Artists! Perhaps you employ language in your work. You may be highly literate. But you don’t have to say what your art means or even is about. Furthermore, don’t do that. It’s my job. You make the stuff. Let critics talk about it. Making is superior to talking, so you have the better end of the deal.’

Dan Fox finds a new model for an institutional operation in south east Brazil: ‘Visiting Instituto Inhotim is quite unlike any other art experience I have had; there is a walking trail through paradisical gardens, where, hidden in palm groves or setting serenely by the side of a lake, the visitor can find Modernist-style pavilions housing works by Brazilian artists and high-profile international names.’

Negar Azimi asks whether so-called socially engaged art can really effect change; Sam Thorne considers the seductive deception of the work of Daniel Sinsel and, following a major commission from the Louvre, Taiwanese director Tsai Ming-liang talks to Erik Morse. Jennifer Bornstein considers the photography of curator Sam Wagstaff, who not only collected, supported and promoted other people’s photography but produced over 7,000 photographs of his own.

The artist lists the books that have influenced him

The world’s first Arab Museum of Modern Art and Qatar’s plans for its cultural future

By Sarah-Neel Smith
Ilene Segalove Today’s Program: Jackson Pollock, ‘Lavender Mist’ (1974)

Globetrotting curators and anxious artists; the trials of aviation and placelessness

Billy Joel (1977)

What do you like the
look of?

Powder-coated anything. 

Visage (Face) (2009)

Following a major commission from the Louvre, Taiwanese director Tsai Ming-liang talks about how music, his father and the responsibilities of filmmaking have informed his 20-year

Untitled Spatial Arrangement (Drying Rack)  (2009)

Childhood possessions, assembled tableaux, secret stories and studio walls

By Andrew Berardini
Big Lobster Supper (background: Truman) (2010) Installation view, Hayward Gallery Project Space, London

Consumerism, spatial confusions and dislocated images; volume, solidity and lobsters

By Lizzie Carey-Thomas

Art has a long history of engagement with politics. Does recent so-called socially engaged or political art really effect change?

By Negar Azimi
The work in progress 'Clones' in the studio of Gilles Barbier, Marseille (2011)

Gilles Barbier speaks about his work in progress that will be shown at the Centre Pompidou in Paris later this year.

By Vivian Sky Rehberg
Peter Schjeldahl giving a talk at the Walker Arts Center, Minneapolis (1999)

Can we speak sensibly about what we like about art?

Sam Wagstaff (left) with Robert Mapplethorpe, 1974. Photograph: Francesco Scavullo

The little-known photographs of a pioneering photography collector; an artist’s project

Untitled (2011) Linen, wood and 22-carat gold, 28×23 cm

Moving between concealment and display, the work of Daniel Sinsel treads a fine line between seduction and deception

By Sam Thorne