frieze magazine

Issue 174

October 2015

The October issue of frieze is out now, with features by award-winning writers Brian Dillon on Enrico David, Lavinia Greenlaw on Elizabeth Price and Marina Warner on the destruction of artworks; plus columns and reviews from around the world, including a questionnaire from Jim Shaw.

Also featuring: Julian Hoeber argues that enthusiasm, not scholarship, motivates artists; Ben Davis and Ara H. Merjian explore how the Athens art scene is responding to austerity; and Abraham Cruzvillegas talks to Jace Clayton about his art and his philosophy of autoconstrucción.

Illustration by Lauren Rolwing

The best art eludes easy interpretation

By Chris Wiley
Nikita Kadan, Untitled (Political Natural History Department), 2014, included in 'Lest the Two Seas Meet', a Museum of Modern Art, Warsaw. Courtesy the artist; photograph: B. Stawiarski.

Finding historical perspectives on current upheavals in the Arab world

London's studio-space crisis

By Katharine Stout
Francis Newton Souza, Ezra Pound, 1960, ink on paper, 28 x 22 cm. Courtesy Christie's Images, London, and Scala, Florence.

A new biopic on the late Indian modernist, F.N. Souza

By Shanay Jhaveri
Frank Benson, Juliana (detail), 2014-15. Courtesy the artist, Andrew Kreps Gallery, New York, and Sadie Coles HQ, London

How artists have explored transgender identity

By Juliet Jacques
Michael Clark, Mmm..., 1992. Courtesy Michael Clark Company; photograph: Hugo Glendinning.

Dressing up, ballet, music videos and mutant dance

By Adam Linder
Adirley Queirós, White Out, Black In, 2015

Presenting documentary stories using techniques from fictional narrative cinema, these films aim to tell a greater truth than conventional reportage could offer

By Aaron Cutler
Interior from Total State Machine, 2015

Better understood as a popular modernist collective, Test Dept made records pulsing with panic and were one of the last examples of post-punk

By Mark Fisher
Matthew Connors, View from Qubba Palace Gates, 2013. Courtesy the artist.

Each approach is valid and necessary, but none alone is sufficient – especially in places undergoing rapid transition

By Brian Sholis
Pattern by Jeremy Deller & Fraser Muggeridge Studio, designed in response to the work of  William Morris for the exhibition ‘Love is Enough: William Morris & Andy Warhol’, 2014–15, curated by Jeremy Deller at Modern Art Oxford. Courtesy Modern Art Oxford.

The re-invigorated relationship between design and craft

By Alice Rawsthorn
Jenny Holzer, Under a Rock: You spit on them because ..., 1986, Virginia Mist black granite bench, 43 x 91 x 40 cm

Hauser & Wirth, Bruton, UK

By Matthew McLean
Joseph Cornell, Palace, 1943, box construction, 27 x 51 x 13 cm

Royal Academy of Arts, London, UK

By Ina Cole