frieze

The September issue of frieze is about the super-hybrid: what is it and should we be worried? In this issue’s ‘State of the Art’ editorial, Jörg Heiser describes a phenomenon he has provisionally called ‘super-hybridity’. In the wake of ravenous capital and the transformative effect of the Internet, hybridized forms of art-making have today ‘moved beyond the point where it’s about a fixed set of cultural genealogies and instead has turned into a kind of computational aggregate of multiple influences and sources’. In a round table discussion on the subject, Hito Steyerl characterizes super-hybridity as ‘Immersion, entanglement, affectivity, sudden rupture and repeated breakdown’; Ronald Jones compares it to Transdisciplinarity, a relation that is no longer reciprocal but produces a third practice that is entirely new; Seth Price wonders whether it is really a term that addresses the effect of digital production tools; but Nina Power warns against the neo-Romantic vision of hybridity and Sukhdev Sandhu declares it as indistinguishable from spam. Also in issue 133, Matt Saunders talks to painter Amy Sillman about dandyism, humour and abstraction, and Jennifer Higgie describes the slippage of perception and narrative in the films of Emily Wardill. Dominic Eichler accompanies Ming Wong on a trip to Naples to revisit some of the locations Wong used in his new film Devo Partire. Domani: ‘In Italy a location is not just a backdrop, it’s a character, a famous co-star even.’ In our regular columns, Robert Storr visits the eighth instalment of SITE Sante Fe to find a unique approach to exhibition making; Sean O’Toole considers contemporary African artists responses to prejudice and homophobia; and Jennifer Allen compares Postmodernism to Facebook. Plus, Nathaniel Mellors and Agnieszka Kurant both contribute special artist projects. Mark Fisher reviews three of the latest books to deal with perhaps the greatest driver of super-hybridity: capital; Daniel Miller profiles the most eccentric, and maybe the most ignored, of French philosophers: Michel Serres; Anwyn Crawford traces the evolution of the male falsetto; and Jim Lambie answers the frieze ‘Questionnaire’. Reviews include: The 6th Berlin Biennale; Rachel Harrison at Whitechapel, London; Leon Golub at The Drawing Center, New York; Matthew Barney at Schaulager, Basel; 17th Biennale of Sydney; Trisha Donnelly at Casey Kaplan Gallery, New York; ‘In the Company of Alice’ at Victoria Miro, London; and Bettina Allamoda at September, Berlin. Exclusively on frieze.com Geeta Dayal listens to Oneohtrix Point Never, and suggests that his double-disc collection Rifts, and series of short YouTube videos, posted under the alias of Sunsetcorp might be more striking than his recent much-praised album Returnal. What do you think? Read more and comment now. On the publication of his book Sinister Resonance: The Mediumship of the Listener British author and musician David Toop talks to Daniele Cascella about the experience of listening; and Richard Unwin surveys Villa Reykjavik, a Polish art festival in Iceland. On the Editors’ Blog, Paul Teesdale visits the 10th edition of the Era New Horizons International Film Festival in Wrocław, Poland to discover the cinema of late Polish film director Wojciech Jerzy Has and a 92-film Jean-Luc Godard retrospective. Plus exclusive audio and video from issue 133, including music from The Ink Spots, the Bee Gees and Justin Bieber, as well as Nathaniel Mellor’s video commission for the BBC series Seven Ages of Britain and an interview with Ming Wong. Follow frieze on twitter or become a fan on facebook.
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