frieze magazine

Issue 190

October 2017

The October issue of frieze is out now. In a themed section on 'Art, Culture and Appropriation', seven artists, writers and musicians discuss: ‘Is culture property? Who can speak for whom?’ Plus Paulo Bruscky interviewed and Kerstin Brätsch and Alexander Kluge in conversation; monographs on Leonor Antunes and Stuart Middleton; Rosalyn Drexler reveals the influences that have shaped her work; and Ilya and Emilia Kabakov answer the Questionnaire. Also in this issue: 34 exhibition reviews from around the world, including reports on the Manchester International Festival, PHotoESPAÑA, Alexandra Pirici at Neuer Berliner Kunstverein and Trajal Harrell at Barbican, London. 

Roni Horn, Untitled from the series 'Still Water (The River Thames, For Example)', 1999, lithograph on paper, 77 x 105 cm. Courtesy: American Acquisitions Committee 2005 © Tate, London 2017

Q: What do you like the look of? A: Water, always, in any weather. Calm, stormy, in the morning, at sunset, even at night.

On the Marxist-inspired children's films of Hartmut Bitomsky and Harun Farocki, screened for the first time in more than 40 years 

The winner of this year's Palme d'Or is a fictionalized portrait of contemporary culture's new villain: the curator 

Silberkuppe, Berlin, Germany

Kris Lemsalu, Full Time Friend Erik, 2015, skull, textile, porcelain, plastic. Courtesy: the artist, Koppe Astner, Glasgow, and Temnikova Kasela, Tallinn

Human playthings and disfigured dolls in the work of Jean-Marie Appriou, Veit Laurent Kurz, Kris Lemsalu and Athena Papadopoulos

Kerstin Brätsch, ‘Innovation’, 2017, exhibition view at Museum Brandhorst, Munich. Courtesy: the artist and Museum Brandhorst, Munich; photograph: Uli Holz

Artist Kerstin Brätsch and filmmaker and writer Alexander Kluge speak to Pablo Larios about algorithms, fortune-tellers and stained glass windows

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‘Sad Sketches’, 2014, installation view at Piper Keys, London. Courtesy: the artist and Piper Keys, London; photograph: Original&theCopy

Stuart Middleton’s sculptures, stories and films reflect on the violence of gentrification and London’s changing urban landscape

Paulo Bruscky, Conexão (Connection), 2013, suitcase and collage, 34 × 54 × 18 cm. Courtesy: the artist and Galeria Nara Roesler, New York/Rio de Janeiro/São Paulo

On the eve of his solo exhibition at Centre Pompidou, Paulo Bruscky talks about mail art, fluxus and outwitting the Brazilian military dictatorship

‘Discrepancies with G.G.’, 2017, exhibition view at Tensta Konsthall, Stockholm. Courtesy: the artist and Tensta Konsthall, Stockholm; photograph: Jean Baptiste Beranger

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Influence and innovation in the sculptures of Leonor Antunes

Jimmie Durham, Self-portrait Pretending to Be Maria Thereza Alves, 2006, photograph, 81 × 60 cm. Courtesy: the artist; photograph: Maria Thereza Alves

On recent artistic appropriation controversies

Katy Perry featuring Juicy J, ‘Dark Horse’, 2013, music video still

On the intertwined histories of music, sampling and influence

A New Orleans city worker in protective clothing measures a monument to Jefferson Davis, President of the Confederate States,4 May 2017. Courtesy: Getty Images; photograph: Justin Sullivan

Novelist Hari Kunzru on the current culture wars in the US