Issue 254
October 2025

‘I want people to feel something before they understand it.’ Hugh Hayden  

The October issue of frieze magazine is dedicated to artists and writers living and working in London. Senior editor Terence Trouillot interviews sculptor Hugh Hayden on the occasion of his solo show at Lisson Gallery in London. Plus, Peter Davies, Rose Easton, Maggie Matic, Matthew Noel-Tod and Bolanle Tajudeen contribute to a roundtable on how London’s institutions can support emerging artists in the city. 

Interview: Hugh Hayden  

‘My work is about access, aspiration, alienation – things that cross boundaries.’ The artist talks to Terence Trouillot about crafting works that seduce and unsettle. 

Roundtable: Emerging Currents  

‘I have this imaginative vision for what an art school should be, and it extends beyond the institution itself.’ Five art-world leaders – directors, artists, academics and gallerists – consider what London offers emerging talent today, and why artist-run spaces, galleries and collaboration remain vital. 

Also featuring   

Noemi Smolik profiles large-scale photographer Andreas Gursky ahead of his exhibition at the White Cube in London. In ‘1,500 Words’, Nan Goldin speaks to senior editor Vanessa Peterson about her lifelong bond with artist David Armstrong, whose presence shaped her artistic voice through decades of friendship, photography and shared survival. Plus, Carson Chan pens a thematic essay on how monuments script public memory and futures through the contested values of the past. 

Columns: Friendship 

Ira Silverberg pens a memorial to artist John Giorno, documenting their shared time at 222 Bowery; Evangeline Turner tells Lisette May Monroe about the camaraderie she built with Alastair MacKinven while sharing a studio with the painter; Anri Sala speaks to senior editor Marko Gluhaich about his boundary breaking friend, artist and Albanian Prime Minister Edi Rama; Rainer Diana Hamilton reviews Kay Gabriel’s novel Perverts (2025), which teaches us how to dream in unison; Rick Lowe and Otobong Nkanga discuss their two-decade friendship, touching on how community and social engagement shape their artistic practices. 

Finally, Bryn Evans responds to Kerry James Marshall’s 2014 painting Untitled (Blanket Couple). Plus, Anri Sala contributes to our series of artists’ ‘to-do’ lists, and senior editor Terence Trouillot pens a postcard from the Berkshires. 

From this issue

Five art-world figures – directors, artists, academics and gallerists – on why artist-run spaces, new galleries and collaboration remain vital to emerging talent

The photographer looks back on a close friendship, recalling the intimacy that shaped their shared world

BY Nan Goldin AND Vanessa Peterson |

The artist on how he reshapes the familiar – from cookware to classrooms – into wooden sculptures that expose the fault lines of American life

BY Hugh Hayden AND Terence Trouillot |

Carson Chan considers the fate and function of public statues at a time when many are being toppled

BY Carson Chan |

Ahead of his White Cube London show, the artist contemplates photography’s industrial heritage and his exacting image-making

BY Noemi Smolik |

The pair reflect on social practice, early collaborations, and the importance of mutual recognition in their work

BY Rick Lowe AND Otobong Nkanga |

The painter reflects on the support, wisdom and generosity she received from her late friend

The artist celebrates an influential statesman and painter whose work constantly crosses the boundaries of art, politics, writing and architecture

BY Anri Sala AND Marko Gluhaich |

In her new book ‘Perverts’, one of poetry’s great dreamers puts nighttime’s revelations into social relation

BY Rainer Diana Hamilton |

He recalls their decades-long friendship and vivid memories of William S. Burroughs, James Grauerholz and Allen Ginsberg in ‘The Bunker’

BY Ira Silverberg |

As the artist takes over the Royal Academy, London, Bryn Evans unpacks the sensual play of intimacy and light in one extraordinary canvas

BY Bryn Evans |

At Kunsthaus Bregenz, the artists textiles and sculptures weave family, myth and craft to celebrate Roma culture

BY Kathrin Heinrich |

At Van Abbemuseum, Eindhoven, the artist uses objects from athletics to upend the idea of individual achievement

BY Helena Julian |

Its 2025 edition, ‘Shelter’, seeks to disturb our anthropocentric attitudes by swapping spectacle for subtlety

BY Lou Selfridge |

His mid-career survey at the Museum of Contemporary Art, Chicago, reflects on the violence and absurdity of neocolonialism

BY Ravi Ghosh |

At Jessica Silverman, San Francisco, the artist’s vibrant paintings depict speculative futures borne of 1960s counterculture

BY Theadora Walsh |

At The Phillips Collection, Washington, DC, the artist-activist’s paintings offer a counterpoint to more overtly political work by her peers

BY Grace Byron |

By responding to the late artist’s works at Kunstmuseum Liechtenstein, Vaduz, Olesen confronts the opaque legacies of postwar masculinity

BY Brit Barton |

At Cabinet, London, the artist’s minimal installation recreates a blurry photograph of a bus stop 

BY Ellen Mara De Wachter |

At Marian Goodman Gallery, New York, the artist holds the virtual treeline and the natural one in a single view

BY Andrew Woolbright |

At Neue Nationalgalerie, Berlin, the artist’s participatory practice invites a radical, bodily mode of knowing

BY Louisa Elderton |

At ShugoArts, Tokyo, the artist combines nostalgic still lifes with assorted produce, cheap liquor and whistled Chopin

BY Taro Nettleton |

The artist’s survey at Museo de Arte Contemporáneo de Monterrey, Mexico, demonstrates his commitment to liberatory notions of nationhood, kinship and art itself

BY Claudia Ross |

At MASSIMODECARLO, London, the artist presents a series of unnerving paintings based on archival photographs of Francis Bacon

BY Melissa Baksh |

At Sursock Museum, Beirut, the artistic duo respond to violence, silence and historical fracture

BY Robert McKelvey |

At SAC Gallery, Bangkok, ‘If only it is seen, thus, from afar’ carves out a haven for self-expression

BY Hung Duong |

At Blue Velvet, Zurich, the artist’s charged sculptures balance violence with desire

BY Anya Harrison |

On view at the Aspen Art Museum, the artist’s early replicas of canonical artworks appear imbued with love and disdain

BY Hugo Bausch Belbachir |

At Galerie Krinziger, Vienna, the artist’s works act as a record of thought in motion

BY Hana Ostan-Ožbolt-Haas |

At Grand Union, Birmingham, the artist forges a devotional lineage of queer and trans lives in Qajar-era Iran

BY Donna Marcus Duke |

At David Peter Francis, New York, the artist repurposes medical impairment charts and losing lottery tickets to address inequality at the office

BY Chris Murtha |

At Fondazione MAST, Bologna, the artist’s meticulously staged photographs highlight sitters whose social visibility is often denied

BY Giovanna Manzotti |

The 12th SITE Santa Fe International considers fictitious, historical and living characters – a curatorial gamble that pays off

At Tramway, Glasgow, the artist asks what bats and moths can teach us about sustainable living

BY Caitlin Merrett King |

At Kunsthaus Zürich, the artist’s maximalist vision restages historical fragments into living, unruly theatre

BY Krzysztof Kościuczuk |

His print show at STPI Creative Workshop & Gallery, Singapore, upends the question: ‘What does it mean for an artist to be ahead of their time?’

BY Yvonne Wang |

In a series of formally playful snapshots at Goswell Road, Paris, the artist captures intimate moments of love and care

BY Wilson Tarbox |

The artist’s show at Kunsthall Trondheim probes the stories we tell ourselves about oil – and proposes new ones

BY Cassie Packard |

At the Nicoletta Fiorucci Foundation, Venice, the artist and collaborators create a mesmerizing exhibition – part immersive Gesamtkunstwerk, part speculative archaeological site

BY Sean Burns |

The inaugural edition, ‘The Exchange’, asks us to meet art where we are: together, outside, in public

BY Terence Trouillot |

At Modern Art, London, the artist abstracts scenes from nature to create ambiguous paintings

BY Tom Morton |

At Kiasma, Helsinki, the artist’s visceral works expose the potent entanglement of mind and body

BY Alison Hugill |

‘The Oracle’ showcases non-human actors and explores art’s power to dream and demand freedom – but lacks clarity

BY Chloe Stead |

At REDCAT, Los Angeles, the artist parses the relationship between the US military and Hollywood in an effort to understand her father

BY Elizabeth Wiet |

At The Perimeter, London, the artist explores how women have been mistreated in both domestic and clinical settings

BY Ivana Cholakova |