frieze magazine

Issue 173

September 2015

The September issue of frieze is out now, with features on Math Bass, Lara Favaretto, Ahmet Öğüt and Koki Tanaka, plus columns and reviews from around the world, including a questionnaire from acclaimed Italian novelist Elena Ferrante.

Also featuring: Isabel Stevens surveys 25 years of freewheeling cinema from New York’s Jem Cohen; Dan Kidner unpacks the evolution of the artist’s feature film; Jan Verwoert explores mimetism, art and alchemy; and Barbara Casavecchia probes the nuances of death and disappearance in the sculpture of Lara Favaretto.

Illustration by Lauren Rolwing

Visualizing the Snowden archive

By Christy Lange
Ben Rivers, The Two Eyes Are Not Brothers, 2015, production still. Courtesy the artist, Artangel and Kate  MacGarry, London; photographs: Yuki Yamamoto

The evolution of the ‘artist’s feature film'

By Dan Kidner
Kamal, 2015, oil on linen,  36 × 31 cm. Courtesy: Sultana, Paris

Painting, nudes and chatrooms

By Matthew McLean
A Pottery Produced by Five Potters  at Once (Silent Attempt),  2013, still from video documentation  of collaboration. Courtesy: the artist, Vitamin Creative  Space, Guangzhou, and  Aoyama | Meguro, Tokyo

Cooperation and dissent in Koki Tanaka’s precarious tasks

By Andrew Maerkle
AA Bronson and Ryan Brewer, Red, 2011, Duratrans transparency in  lightbox, 214 × 143 × 15 cm. Courtesy: the artist and Maureen Paley, London; © AA Bronson and Ryan Brewer

On mimesis, art and alchemy

By Jan Verwoert

The city plays itself

By Andreas Schlaegel
Counting, 2015,  HD video still. Courtesy: the artist and Cinema Guild

25 years of Jem Cohen’s free-wheeling cinema

By Isabel Stevens
Bakunin’s Barricade, 2015, mixed media, dimensions variable; loan contract stipulating that the barricade may be requested and deployed during economic, social, political or transformative moments and social movements; and works from the Van Abbemuseum collection including the following paintings: René Daniëls, Grammofoon, 1978; Marlene Dumas, The View, 1992; Asger Jorn, Le monde Perdu, 1960; Oskar Kokoschka, Augustusbrücke Dresden, 1923; Fernand Léger, Une Chaise, un pot de fleurs, 2 bouteilles, 1951; El Lissitzky, Proun P23, No. 6, 1919; Pablo Picasso, Nature morte à la bougie, 1945; Jan Vercruysse, Schöne Sentimenten, 1988. Courtesy: the artist and Van Abbemuseum, Eindhoven; photograph: Peter Cox

Sam Thorne discusses activism, collaboration and the uses of absurdity with Ahmet Öğüt

By Sam Thorne
Paul Schneider-Esleben in his office, with a model of Cologne/Bonn airport, 1962. Courtesy: Claudia Schneider-Esleben Archive

In his centenary year, two retrospectives celebrate the German architect Paul Schneider-Esleben

By Markus Weisbeck
Halt and Catch Fire, 2015. Courtesy: AMC

The glorification of the pontiffs of Palo Alto

By Lynne Tillman
Jean Katambayi Mukendi, Migration, 2015. Courtesy: Goodman Gallery, Johannesburg

Is technology geographically neutral?

By Sean O'Toole
Justin Berry, Stone Shields, 2012, ink on archival Baryta  paper, 38 × 31 cm. Courtesy: the artist

Video Game Photography

By James Bridle