Issue 139
May 2011

In the May issue of frieze, Charles Atlas talks to Stuart Comer about his creative development and collaborations with artists, musicians and dancers—from Merce Cunningham and Antony and the Johnsons to Michael Clark and Mika Tajima—as well as his ideas for the future.

Nana Oforiatta-Ayim traces a long-overdue shift in the dissemination and discussion of contemporary African art. Also featured in the May issue: the installations, collages and films of Andro Wekua; myth, ghosts and borders in the work of Mikala Dwyer; Rosa Barba’s meditations on memory and vision; and Dieter Roelstraete explores why a growing number of artists are turning away from image-making to writing and performance. 

From this issue

In an ongoing series, frieze asks artists and filmmakers to list movies that have influenced their practice

BY Mark Aerial Waller |

Towards a partial typology of anglophone exhibition titles

BY Tom Morton |

A pivotal moment for public performance in the Arab world – this is the first in a regular series of columns by Beirut-based writer Kaelen Wilson-Goldie

BY Kaelen Wilson-Goldie |

The problems of storing art

BY Jennifer Allen |

The life and death of public monuments

BY Sean O'Toole |

Paul Chan’s new publishing venture and the relationship between physical and virtual methods of book production

BY Sarah Hromack |

How the US Army is adopting design methods normally reserved for the creative disciplines

A round-up of recent experimental French fiction by Jacques Jouet, Eric Chevillard and Claude Ollier

BY Hugo Wilcken |

Inspired both by the natural sonorities of the sea and the classic surf-pop lexicon, Endless Summer remains both a time-capsule and a weather report

BY Erik Morse |

Charles Atlas talks to Stuart Comer about his creative development, the intertwining of social scenes and art, and his ideas for the future

BY Stuart Comer |

The installations, collages and films of Andro Wekua construct a filmic dream-space of violent fantasies and sexual perversion

BY Eva Díaz |

Why a growing number of artists are turning away from image-making to writing and performance

BY Dieter Roelstraete |

Myth, ghosts and borders in the work of Mikala Dwyer

BY Anthony Byrt |

High definition videos and B-movie soundtracks; technical effects and cadavers

Reconstruction, propaganda and entertainment; politics, trials and fencing

BY Barbara Casavecchia |

Historical, social and political questions: ‘how did we get here?’

BY Naomi Fry |

A long-overdue shift is happening in how contemporary African art – from Dakar and Lagos to Cape Town, Harare and Rabat – is disseminated and discussed

BY Nana Oforiatta-Ayim |

International Center of Photography, New York, USA

BY Ara H. Merjian |

Dealing with the lapses between narrative content and medium, Rosa Barba’s film and sculptural work is a meditation on memory and vision

BY Kirsty Bell |

Gallerie Max Hetzler

BY Jörg Heiser |

Generali Foundation

BY Bettina Brunner |

Kunsthaus Bregenz

BY Yann Chateigné |

Galerie Nathalia Obadia

BY Manuel Cirauqui |

Musee d'Art Moderne de la Ville de Paris / ARC

BY Kathy Noble |

Eleni Koroneou Gallery

BY Delfina Zefkili |

Marian Goodman Gallery

BY Naomi Fry |

David Zwirner Gallery & Salomon Contemporary

BY Chris Wiley |

Elizabeth Foundation for the Arts Project Space

BY Priya Bhatnagar |

Vancouver Art Gallery

BY Mitch Speed |

Serpentine Gallery

BY Eleanor Nairne |

The Drawing Room, London, UK

BY Morgan Quaintance |

Gagosian Gallery

BY George Barber |

frieze interviews four young artists about the highs and lows of creative life

Q. What was the first piece of art that really mattered to you? A. I'm not making art about art. I didn't buy a ticket.

BY Sarah Lucas |