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.

Trevor Paglen, Untitled (Reaper Drone), 2010, c-type print, 1.2 × 1.5 m. Courtesy: the artist, Altman Siegel, San Francisco, Metro Pictures, New York, and Galerie Thomas Zander, Cologne

What do drones see? And how can we see them?

By Christy Lange
Untitled, 2012, woodcut, 60 × 45 cm. Courtesy: the artist and Leo Koenig Inc., New York

The surreal, oddly familiar world of Nicole Eisenman

By Jennifer Higgie

Artist Gary Panter draws and discusses the books that have influenced him

By Gary Panter
Courtesy: © Islington Local History Centre, London

The Islington bedroom where the playright was bludgeoned to death

By Ilsa Colsell
Pier Paolo Pasolini, Teorema (Theorem), 1968 film still. Courtesy: BFI, London.

From eroticism to transcendence, the work of Pier Paolo Pasolini and Andy Warhol has many surprising overlaps. Ara H. Merjian traces the affinities and contradictions between an unlikely pair

By Ara H. Merjian
‘Who does the earth belong  to while painting the wind?!’, 2012,  installation view at Kunsthalle Sant Gallen. Courtesy: the artist and Chert, Berlin; photograph: Gunnar Meier

The Kosovar artist’s biographical narratives and loaded artefacts

By Pablo Larios

Motion-capture choreography, street fights, Looney Tunes and ‘hybrid cinema’

By Kari Rittenbach
Hypothalamic brainstorming, 1962, mixed media on paper, 1.2 × 2.3 m

Gianfranco Baruchello’s long career encompasses painting, sculpture and film as well as farming and psychoanalysis

By Luca Cerizza
Sky Piece to Jesus Christ, 1965,  performance documentation,  Carnegie Recital Hall, New York

Schirn Kunsthalle, Frankfurt, Germany

By Klaus Walter
Nayland Blake, Eleventh, 2013, mixed media,  183 × 93 × 47 cm
By David Everitt Howe
Now I Will Be with My Son, the Murderer of Your Heritage, 2011, installation view in Argentine Pavilion, 54th Venice Biennale. Courtesy: Galeria Luisa Strina, São Paulo; photograph: Oliver C. Haas.

Argentinian artist Adrián Villar Rojas talks to Kathy Noble about creating with clay, sculpture-as-film and team-work

By Kathy Noble