In the March issue of frieze, Peter Schjeldahl examines the use of pronouns, cites a good example of writing in Wallace Stevens and even makes a case for his profession: ‘Attention Artists! Perhaps you employ language in your work. You may be highly literate. But you don’t have to say what your art means or even is about. Furthermore, don’t do that. It’s my job. You make the stuff. Let critics talk about it. Making is superior to talking, so you have the better end of the deal.’
Dan Fox finds a new model for an institutional operation in south east Brazil: ‘Visiting Instituto Inhotim is quite unlike any other art experience I have had; there is a walking trail through paradisical gardens, where, hidden in palm groves or setting serenely by the side of a lake, the visitor can find Modernist-style pavilions housing works by Brazilian artists and high-profile international names.’
Negar Azimi asks whether so-called socially engaged art can really effect change; Sam Thorne considers the seductive deception of the work of Daniel Sinsel and, following a major commission from the Louvre, Taiwanese director Tsai Ming-liang talks to Erik Morse. Jennifer Bornstein considers the photography of curator Sam Wagstaff, who not only collected, supported and promoted other people’s photography but produced over 7,000 photographs of his own.
