frieze magazine

Issue 156

Jun - Aug 2013

Nine writers and artists consider how narrative structures in fiction will change as technology advances. Featuring Fatima Al Qadiri, James Bridle, Ian Cheng, Orit Gat, Lev Manovich, Christiane Paul, Alexander Provan, Timotheus Vermeulen, and Holly Willis.

Also featuring: Katie Kitamura looks at how art can visualize political realities through the artifice of fiction; Ben Lerner on whether objects are more real than words and two specially commissioned artist projects: ‘Double City Manifesto,’ a graphic short story by Gregory Sholette & Christopher Darling; and ‘Donald, or a Portrait of the Artist at Dusk’ by Omer Fast.

A sandstone sculpture of Lajja Gauri or Aditi, c.650, Badami Museum, India. Courtesy: Dayanita Singh

Q: What is art for?
A: To escape.

Sifting fact from fiction

By Christy Lange
Yassin al-Haj Saleh in Julia Meltzer and David Thorne’s We Will Live to See These Things, or, Five Pictures of What May Come to Pass, 2007. Courtesy: the artists

Prisoners of conscience and creative acts

By Kaelen Wilson-Goldie
A visitor to the Paintings section at TEFAF Maastricht,  2013. Photograph: Loraine Bodewes

De Appel’s new course in art dealing

By Jason Farago
Alighiero Boetti, Mappa (Map), 1989. Courtesy: Sprüth Magers Berlin London

National identity and ‘global fiction’

By Rajeev Balasubramanyam
Henry Fuseli, The Nightmare, 1781. Courtesy: © 2013 Detroit Institute of Arts / The Bridgeman Art Library

Literature versus art history

By Quinn Latimer
Pablo Larraín, No, 2012

Chilean director Pablo Larraín discusses the merging of fact and fiction in his films

By Rob White

A growing number of filmmakers, musicians and visual artists have begun to revisit the rave and jungle ecologies of the early 1990s

By Sukhdev Sandhu
Andy Freeberg, Mitchell Innes & Nash, 2006, from the series ‘Sentry’. Courtesy: the artist and Kopeikin Gallery, Los Angeles

What does the term ‘gallerina’ symbolize?

By Isobel Harbison

The changing face of graduate exhibitions

By Tom Morton

The Mexican novelist lists the books that have influenced her

By Chloe Aridjis
Jules Bastien-Lepage, Joan of Arc, 1879, oil on canvas, 2.5 x 2.9 m. Courtesy: The Metropolitan Museum of Art, New York / Art Resource, and Scala, Florence.

Are objects more real than words? Or, how poet and novelist Ben Lerner stopped being jealous and learned to love the virtual

By Ben Lerner