Issue 192
January - February 2018

The January-February issue of frieze sees Hilary Lloyd creates a commissioned artwork, the first in our new ‘Visual Essays’ series; Amalia Pica interviews Beatriz González; plus monographs on Elaine Lustig Cohen and Angelica Mesiti.  Also featuring Dan Fox on the current nostalgia for New York's ‘bad old days’ of the 1970s and ’80s; Evan Moffitt explores how artists Bethany Collins, Steffani Jemison, Adam Pendleton and Kameelah Janan Rasheed are using black radical poetry to unpack subjectivity and race, and artist Haegue Yang, winner of the 2018 Wolfgang Hahn Prize, talks about the objects and ideas that have shaped her thinking. Plus: 48 exhibition reviews from around the world, and Glenn Brown answers our Questionnaire.

From this issue

Why the 40-year-old Mute record label remains an enigma

BY Simon Reynolds |

Should acting awards be gender neutral? 

BY Michelle Orange |

Almine Rech Gallery, Paris

BY Gabriella Pounds |

Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy

BY Hettie Judah |

The artist reveals the books that have influenced him 

BY Christian Nyampeta |

As Susanne Kennedy's Women in Trouble premieres at Berlin's Volksbühne, the theatre director discusses her life and influences 

BY Susanne Kennedy |

The long-overdue publication of Susan Sontag's collected short fiction 

BY Jerome Boyd-Maunsell |

Q: What should change? A: 'At the Moment, Britain's slow car crash into Brexit.'

BY Glenn Brown |

Are recent innovations in sustainable fashion enough to save the planet? 

BY Hettie Judah |

Growing old and growing value 

BY Lynne Tillman |

Arthur Jafa’s intertwining of video collage and music has the power to open up minds and bodies

BY Jörg Heiser |

The 15th anniversary of Joshua Tree's annual art event: High Desert Test Sites 

On losing faith in generalism, learning to listen and embracing doubt 

BY Jonathan Griffin |

Elephants, identity and abstraction: The winner of the 2018 Wolfgang Hahn Prize reveals the objects and ideas that have shaped her thinking

BY Haegue Yang |

Palais de Tokyo, Paris, France 

BY Lorena Muñoz-Alonso |

How Bethany Collins, Steffani Jemison, Adam Pendleton and Kameelah Janan Rasheed are using the tradition of black radical poetry to examine questions of subjectivity and race

BY Evan Moffitt |

National Gallery of Victoria, Melbourne, Australia

BY Inga Walton |

Various venues, Turkey

BY Matthew McLean |

The Third Line, Dubai, UAE

BY Katrina Kufer |

Thomas Dane Gallery, London, UK

BY Rebecca Swirsky |

Gallery 1957, Accra, Ghana

BY Sean O'Toole |

Secession, Vienna, Austria

BY Hans-Jürgen Hafner |

Josh Lilley, London, UK 

BY Caroline Marciniak |

Artists Beatriz González and Amalia Pica discuss painting, curating, activism and identity 

BY Amalia Pica AND Beatriz González |

Angelica Mesiti’s films explore the myriad ways humans communicate

BY Tom Jeffreys |

On the prolific and varied career of artist, designer, collector and archivist Elaine Lustig Cohen 

BY Alice Twemlow |

Los Angeles Municipal Art Gallery, Los Angeles, USA

BY Evan Moffitt |

Museum of Modern Art in Warsaw, Poland

BY Krzysztof Kościuczuk |

McMichael Canadian Art Collection, Kleinburg, Canada

BY Charles Reeve |

Lulu, Mexico City, Mexico

BY Owen Duffy |

Deutsche Bank KunstHalle, Berlin, Germany

BY Chloe Stead |

James Cohan Gallery, New York, USA

BY Amy Zion |

Kestnergesellschaft, Hannover, Germany

BY Moritz Scheper |

Galeria Plan B, Berlin, Germany

BY Kristian Vistrup Madsen |

Museum Boijmans Van Beuningen, Rotterdam, The Netherlands

BY Harry Thorne |

Company Gallery and The Leslie-Lohman Museum, New York

BY Hannah Stamler |

Parasol Unit, London, UK

BY Alex Estorick |

South London Gallery, London, UK

BY Hettie Judah |

Los Angeles Contemporary Exhibitions and Pitzer College Art Galleries, Claremont, USA

BY Travis Diehl |

Tanya Leighton, Berlin, Germany

BY Mitch Speed |

Lisson Gallery at Store Studios, London, UK

BY Tom Morton |

Kunsthalle Basel, Switzerland

Gagosian Le Bourget, Paris, France

BY Lauren Elkin |

Xavier Hufkens, Brussels, Belgium

BY Matthew McLean |

Parisian Laundry, Montréal, Canada

BY James D. Campbell |

Stephen Friedman Gallery, London, UK

BY Paul Carey-Kent |

Hammer Museum and the Museum of Contemporary Art, Los Angeles, USA

BY Summer Guthery |

Various venues, Norway

BY Adam Kleinman |

SculptureCenter, New York, USA

BY Josephine Graf |

Clages, Cologne, Germany

BY Noemi Smolik |

Witte de With, Rotterdam, the Netherlands

BY Jesi Khadivi |

Mitchell-Innes & Nash, New York, USA

BY Dan Fox |

K11, Shanghai, China

BY Maya Kramer |

Serralves Museum, Porto, Portugal

BY Natalie Ferris |


BY Andrew Durbin |

Scarpati’s last and only work to survive him, ‘Putti’s Pudding’ (1989) was shown at Studio Voltaire, London, UK

BY Hettie Judah |