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In this issue, JOE BRADLEY is interviewed by Frog’s Chief Editor ERIC TRONCY, while CHARLES TEYSSOU reviews his show at EVA PRESENHUBER (Zürich). Hopefully there is no weakness in our intent to showcase in Frog #14 some of the artists who are the market darlings right now. Read what they have to say! MATIAS FALDBAKKEN talks extensively with art critic FABIAN STECH, and so does FREDRIK VAERSLEV with ERIC TRONCY, while CAMILLE HENROT chats with JONATHAN CHAUVEAU. See also the reviews for TAUBA AUERBACH, PAMELA ROZENKRANZ and KORAKRIT ARUNANONDCHAI. Will they still be talked about in 20 years? Only time will tell!
This question is not meant to be mean but intended as a lede for this issue’s special section dedicated to the STEPHANIE MOISDON and DOMINIQUE GONZALEZ-FOERSTER-curated exhibition “1984-1999 La Décennie” at the Pompidou Centre Metz. Those who think this is the long-awaited show about what happened in the arts twenty years ago might be disappointed, while those who always enjoy an inventive show and a sharp attitude will be thrilled. It’s difficult to please everyone, right?
Did REM KHOOLAAS try to please everyone with his Venice Architecture Biennale? This is the question debated by JESSE SEEGERS, while FLAVIEN MENU shares his intense thoughts on RENZO PIANO’s Shard in London. Architecture is everywhere in famous fashion photographer ROMAIN BERNARDIE JAMES’s photo series on RICHARD ARTSCHWAGER’s “blps” in Monte Carlo, and in designer FELIPE RIBON’s pictures of Palm Springs —a place discussed in deep by design historian ALEXANDRA MIDAL. Urbanism in London may have been slightly embellished by KATHARINA FRITSCH’s sculpture for the Fifth Plinth —well, this is the way ANTOINE ESPINASSEAU looks at it. Escape from the city is provided by fashion photographer MAURO MONGIELO, who went to New Mexico trying to connect with GEORGIA O’KEEFE’s spirit and brought back some extraordinary pictures.
As extraordinary is international art critic NOELLIE ROUSSEL’s review of French magician GARCIMORE’s exhibition in Barfleur —in fact more than a review, it’s really an essay dealing with roadside museums, magic, and one thing leading to another, MARINA ABRAMOVIC. And then some more.