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 

Piero Gilardi, 'Nature Forever', 2017, installation view. Courtesy: MAXXI, Rome; photograph: Francois Fernandez

MAXXI, Rome, Italy

Geoffrey Farmer and Gareth Moore, A Dark Switch Yawning, Neptune Skeletons Thronging, Black Bucket Prolonging, World Turtle Longing, Sink Plug Wronging, installation view at Salzburger Kunstverein, Austria, 2017. Courtesy: Salzburger Kunstverein

Salzburger Kunstverein, Austria

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

Various venues, Edmonton and Banff, Canada

Aaron Flint Jamison, Iron Lady, 2017, letterpressed folio, 14 x 23cm, edition of 18. Courtesy: Galerie Max Mayer, Düsseldorf

Galerie Max Mayer, Düsseldorf, Germany

Trajal Harrell, Wall Dance, 2017, Barbican Art Gallery, London. Courtesy: Barbican, London; photograph: © Tristan Fewings / Getty Images

Barbican, London, UK

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