frieze magazine

Issue 155

May 2013

In a feature on what drones see and how we might see them, Christy Lange considers the limits of visualization; Helen Marten on skeuomorphism, skins and soup and the surreal, oddly familiar world of Nicole Eisenman by Jennifer Higgie.

Also featuring: Massimilliano Gioni, director of the forthcoming 55th Venice Biennale, talks to frieze contributing editor Barbara Casavecchia.

The winner of the 2016 Turner Prize discusses skeuomorphism, skins and soup - from issue 155

By Helen Marten
Daniel Knorr, Rotterdam 2000, 2000, photograph. Courtesy: Galeria Fonti, Naples, and Galerie Nächst St Stephan, Vienna



What could you imagine doing if you didn’t do what you do? 

I can’t imagine doing anything other than making art.

By Lara Almarcegui
Larry Clark, installation view at ‘NYC 1993:  Experimental Jet Set, Trash and  No Star’
By Jennifer Kabat

From the Vatican to the Venice Biennale: the limits to symbolic acts of altruism

By Jörg Heiser
Victor Obsatz, Portrait of Marcel Duchamp, 1953

How taste and preferences change

By Lynne Tillman
Gerald Machona, Ita Kuti Kunaye (Make it Rain), 2010. Courtesy: the artist

Artists respond to migration in Africa

By Sean O'Toole
Massimiliano Gioni holding an art work by Gianfranco Baruchello,  2010. Courtesy: Fondazione Nicola Trussardi, Milan; photograph: Marco De Scalzi.

Massimiliano Gioni discusses his plans for the 55th Venice Biennale, ‘The Encyclopaedic Palace’

By Barbara Casavecchia
Screengrab from,  March 2013

A brief history of the GIF

By Morgan Quaintance
Raymond Queneau, Exercises in Style, 1947; 2013 edition  published by New Directions,  New York. Courtesy: New Directions, New York; original design by Stefan Themerson for Gaberbocchus Press (1958)

Oulipo and the re-release of Raymond Queneau’s 1947 Exercises in Style

By Charlie Fox
Graeme Thomson &  Silvia Maglioni, In Search of UIQ,  2013, film still. Courtesy: Graeme Thomson & Silvia Maglioni

A new film reconstructs Félix Guattari’s unproduced sci-fi script

By Erik Morse
Petr Šourek  CorruptTour, 2013, Prague. Courtesy: Jan Hrdy

An artist-led guided tour of corruption in the Czech Republic

By Noemi Smolik
Marina Rosenfeld, P.A./Public Address, 2009,  Park Avenue Armory,  New York. Courtesy: the artist

The texture of Rosenfeld’s work is woven from often seemingly disparate times, places and registers of culture

By Dan Fox