Issue 169
March 2015

The March issue of frieze is out now, with features on Lukas Duwenhögger, Sheila Hicks and new abstract painting, plus all our regular columns and reviews from around the world. I

Also featuring: American fibre artist Sheila Hicks describes the 60-year evolution of her artistic language; for our latest regular feature, One Take, Dan Fox explores handcrafted futures and the automated present in artist Scott Reeder’s new sci-fi film, Moon Dust (2015); and Vivian Sky Rehberg writes about social divisions, from a riding club in inner-city Philadelphia to the banlieues of Paris, in the work of Mohamed Bourouissa.

From this issue

Q: What music are you listening to? A: Things that would disgust my teenage self; I have betrayed her.

BY Sophia Al-Maria |

In recent years, abstract painting has experienced both a new popularity and a critical backlash. Can it be written off as ‘zombie formalism’ or are innovative approaches to abstraction really being developed?

BY David Geers |

Social division and artistic engagement in the work of Mohamed Bourouissa

BY Vivian Sky Rehberg |

Being betrayed by the body

Wolf-whistling at fallen angels in Lukas Duwenhögger’s imagined worlds

BY Charlie Fox |

Jennifer Higgie talks to Sheila Hicks about the 60-year evolution of her artistic language

BY Jennifer Higgie |

Material production and the march of history

BY Joseph Akel |

What is Dansaekhwa and what is its legacy today?

Cold portraits and warm-hearted annotations

BY Paul Teasdale |

Dan Fox explores handcrafted futures and the automated present in Scott Reeder’s new sci-fi film Moon Dust

BY Dan Fox |

Creativity as resistance

BY Jennifer Higgie |

The importance of being curious

BY Lynne Tillman |

Can Egypt’s NGOs survive repressive new legislation?

BY Kaelen Wilson-Goldie |

Arts funding and the recent elections in Brazil

BY Silas Martí |

An alternative history of graphic design

BY Fraser Muggeridge |

‘This emergent style is not so much a genre as a sensibility – an approach to rhythm, texture and referentiality that stands apart from long-established modes’

BY Philip Sherburne |

Twinship in contemporary art

BY William Viney |

A combination of memoir, fiction, art criticism and autobiographical reflection, The Story of My Teeth is a remarkable story about stories

BY Natalie Ferris |

Ecological innovation in Chinese architecture

BY Beatrice Leanza |

Șișhane Otopark, Istanbul, Turkey

BY Jonathan P. Watts |

Power Station of Art, China

BY Matthew McLean |

Central Academy of Fine Arts Museum, Beijing, China

BY Carol Yinghua Lu |

Iziko South African National Gallery, Cape Town, South Africa

BY Sean O’Toole |

Minerva, Sydney, Australia

BY Wes Hill |

1646, The Hague, the Netherlands

BY Vivian Sky Rehberg |

Extra City Kunsthal and Middelheim Museum, Antwerp, Belgium

BY Nick Aikens |

Mary Mary, Glasgow, UK

BY John Quin |

Drop City, Newcastle, UK

BY Natasha Soobramanien |

Stephen Friedman Gallery, London, UK

BY Morgan Quaintance |

Rowing, London, UK

BY Alice Butler |

Institute of Contemporary Art, London, UK

BY Laura Castagnini |

Southard Reid, London, UK

BY Paul Pieroni |

Matt's Gallery, London, UK

BY Linda Taylor |

White Cube, London, UK

BY Amy Sherlock |

Various venues, Turin, Italy

BY Jörg Heiser |

Museu Colecção Berardo, Lisbon, Portugal

BY Joana Neves |

Galerie Francesca Pia, Zürich, Switzerland

BY Aoife Rosenmeyer |

Balice Hertling, Paris, France

BY Sabrina Tarasoff |

Galerie Conrads, Düsseldorf, Germany

BY Timotheus Vermeulen |

Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany

BY William J. Simmons |

Campagne Première, Berlin, Germany

BY Sonja Hornung |

Art Gallery of Ontario, Toronto, Canada

BY Dan Adler |

Fogo Island Gallery, Newfoundland, Canada

BY Kari Cwynar |

Ratio 3, San Francisco, USA

BY Jeanne Gerrity |

The Screening Room, Miami, USA

BY Alpesh Kantilal Patel |

Mary Boone Gallery & Metro Pictures, New York, USA

BY David Reisman |

Murray Guy, New York, USA

BY Laura McLean-Ferris |

Petzel Gallery, New York, USA

BY Orit Gat |

Lombard Fried, New York, USA

BY Scott Roben |