The October issue of frieze is out now, with features on Ellen Cantor, Jens Fänge and Jean-Luc Moulène; an investigation into how artists are mapping the flow of offshore wealth; and the Black Arts Movement’s Betye Saar reveals the works that have influenced her 70-year career.
Art of Work: Jean-Luc Moulène
Ahead of the French artist’s solo show at the Centre Pompidou in Paris, Vivian Sky Rehberg explores Jean-Luc Moulène’s enigmatic responses to creativity and labour. “What’s most appreciable, and possibly radical, about Moulène’s approach to making exhibitions is that he maintains all of his work is equally relevant and timely.”
Influences: Betye Saar
On the occasion of her major retrospective at the Fondazione Prada in Milan, US artist Betye Saar reveals the artworks and events that have shaped a practice spanning seven decades: “My work is at the crossroads between death and rebirth. Discarded materials have been recycled, so they’re born anew because the artist has the power to do that.”
Also featuring:
frieze associate editor Christy Lange investigates how artists are mapping the flow of offshore wealth; Timothy P.A. Cooper looks at how Morehshin Allahyari’s use of 3D-printing technology is breathing new life into destroyed artefacts; Matthew McLean reflects on collapse and rebirth in the sculptures and performances of Naufus Ramírez-Figueroa; and Chris Fite-Wassilak describes how a new generation of artists—including Rachael Champion, Joey Holder and Rolf Nowotny—is envisioning the hybrid ecologies of the next age.
Columns & reviews:
Artist and writer Gary Zhexi Zhang reports on how postinternet aesthetics are thriving behind China’s Great Firewall; author Andrew Durbin reviews Douglas Crimp’s new memoir, which charts his life in the galleries and gay bars of 1970s New York; regular columnist Alice Rawsthorn discusses how technology has shaped our expectations of desirable design; and contributing editor Barbara Casavecchia previews a new shape-shifting publication by the Milanese collective Gasconade.
Plus, 22 exhibition reviews from around the world and a questionnaire from Turner Prize nominee Bonnie Camplin, who has concurrent solo shows at Michael Benevento, Los Angeles, and Camden Arts Centre, London.
frieze video:
As frieze turns 25, co-editor Dan Fox reflects on how magazine publishing and contemporary art have evolved over the past quarter century.
Soft Floor, Hard Film: Matthew Noel-Tod revisits the radical model of the London Film-Makers’ Co-op, 50 years after it was founded
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