Issue 88
February 2005

In the January/February ‘Frontiers’ issue of frieze Michael Ned Holte retraces Robert Smithson’s adventures in time travel on the road to Rozel Point to discover that ‘Spiral Jetty is not about the experience of an Earthwork. It is about the experience of film.’

Tom Morton discusses solitude and the fantasy of life in separatist communities in the collages, books and sculptures of David Thorpe.

Adrian Searle reports from the outer limits of the critical frontier.

Dan Fox finds Marc Camille Chaimowicz’ work intoxicated by longing; yearning for a place never lived in but rather dreamt of or briefly tasted.

James Trainor becomes an art tourist and signs up for a ‘Tour of the Monuments of the Great American Void’.

Mark Godfrey journeys through Tacita Dean’s private mythologies and personal homages.

“What was the first piece of art that really mattered to you? An early experience of a beetle of the scarab family ” Henrik Hakansson responds to the frieze back page Questionnaire.

Also featured: David Altmejd by Christopher Miles; Michaela Meise by Dominic Eichler; Nathaniel Mellors by Sally O’Reilly and Rosalind Nashashibi by Jennifer Higgie.

From this issue

Sprial Jetty is overrun with day-trippers, and you can sign up for a 'Tour of the Monuments of the Great American Void'. So much for geologic entropy

David Thorpe's collages, books and sculptures describe a fantasy separatist ccommunity in a fictional wilderness - images of loneliness entwined with the appeal of solitude

Tacita Dean's private mythologies and homages are explored through journeys and chance connections; yet the structure and logic of the work remains elusive

Reporting from the outer limits of the critical frontier

Robert Smithson's adventures in time travel on the road to Rozel Point

A worldly post-Minimalism, understatement, a singer's lament, dissonance and Feminism

BY Dominic Eichler |

Aimlessness and sunlight, everyday life and introspection, communities and kitchens

BY Jennifer Higgie |

Satire and television, debris and progressive Rock, psychotic cinema, the gallery as a liver

Platforms and plinths, werewolves and crystals, severed heads, discos and skeletons

Whitechapel, London

Geographically defined group exhibitions abound, categorizing artists according to nationality, ethnicity, or both. Are these shows an attempt to resist the evaporation of cultural difference? Or do they fetishize locality and biography, undermining more complex approaches to looking at art?

BY Jean-Hubert Martin |

Arte Povera (Tate Publishing, London 2004)

BY Nicholas Cullinan |

Prosthetic Gods (MIT Press, Cambridge Mass. & London, 2004)

Palast der Republik, Berlin

A new book suggests subtitles are not simply translations but passports to foreign worlds.

Record Pictures: Photographs from the Archives of the Institution of Civil Engineers (Steidl, Gottingen, 2004)

BY Brian Dillion |

Record Pictures: Photographs from the Archives of the Institution of Civil Engineers (Steidl, Gottingen, 2004)
Bria

P.S.1 Contemporary Art Center, New York
Charles LaBelle

Trafalgar Square recently hosted a screening of Sergei Eisenstein’s Battleship Potemkin to the accompaniment of a new soundtrack by the Pet Shop Boys. It was an event that highlighted the symbolic importance of London’s largest public square

Two recent books ask why design in the Netherlands is so good - but is it?

A new travelling exhibition by the US Drug Enforcement Agency says as much about America’s relationship to the rest of the world as it does about the dangers of narcotics

New York's Museum of Modern Art has been transformed into an elegant Modernist museum. But what happens now?

‘Go West, young man, go West! Grow Up with the Country!’
Horace Greeley c. 1844