Issue 205
September 2019

The September issue of frieze considers the role of food – aesthetically, sensorially, politically – in contemporary culture, and the human and environmental costs of its cultivation and supply. Writers Chloe Aridjis, Fernando A. Flores, Diana Hamilton, Alexandra Kleeman and Madeleine Thien reflect on our relationship with food through the five senses. Nine contemporary artists, including Olafur Eliasson, Rirkrit Tiravanija, Otobong Nkanga and Heather Phillipson have produced new ‘recipes’ for our cookbook. And Jane Black profiles artist duo Cooking Sections and their long-term investigations into the ethical and political systems that underpin what and how we eat.



Plus, 41 reviews from around the world, including two major exhibitions by the pioneering German artist Rebecca Horn at Centre Pompidou-Metz, France, and Museum Tinguely, Switzerland, and Luc Tuymans’s four-decade retrospective in Venice. And answering our questionnaire is Allen Ruppersberg, whose conceptual restaurant, Al’s Café (1969), served such delicacies as ‘three rocks with crumpled paper wad’ and ‘simulated burned pine needles à la Johnny Cash.’



Cover image: Christopher Knowles, Cheddar House and Bacon Hamburger (detail), 2019, marker on two sheets of paper, 22 x 28 cm. Courtesy: the artist and Gavin Brown’s enterprise, New York

From this issue

Food is personal, and so is this issue – the first of frieze to focus on food’s aesthetic, sensorial, political and environmental role in contemporary culture

BY Andrew Durbin AND Evan Moffitt |

Specially commissioned recipes by nine artists, including Otobong Nkanga, Heather Phillipson and Rirkrit Tiravanija, ranging from abstract to delectable 

The art world’s dining rituals reinforce its class barriers – which is why we should value the museum coffee

BY Dan Fox |

From Louis XIV to #foodporn, feasting has always been for the eyes

BY Fanny Singer |

How dystopian literature influenced the meal replacement industry

BY Chris Fite-Wassilak |

Jesse Connuck on works by Congolese Plantation Workers Art League & Renzo Martens, Torolab and Annalee Davis

BY Jesse Connuck |

The lumbung, or rice barn, sets the stage for the group’s documenta opening in 2022

BY Ruangrupa |

‘The past must be enriched’: An interview with leading French sociologists Luc Boltanski and Arnaud Esquerre

‘We are being poisoned because we have been severed from who we are’

BY Jennifer Higgie |

Reckoning with the legacy of Jim Harrison, whose writing portrayed women like meals – meant to give pleasure and comfort, without having any hunger themselves

BY Julia Langbein |

Ahead of her retrospective at London’s Whitechapel Gallery, the artist speaks to contributing editor Fernanda Brenner about the themes of hunger and hybridity in her work

BY Fernanda Brenner |

Artist Dena Yago on food, affect and the Silicon Valley workplace

BY Dena Yago |

Q. What would we find in your fridge? A. Shipwreck casserole and sailor’s duff

BY Allen Ruppersberg |

The artist reflects on the natural organisms and systems that have inspired his work at Salmon Creek Farm

BY Fritz Haeg |

From climate-resistant menus to colonial desserts, Cooking Sections ask us to think again about the ethics and economics of the food on our plates

BY Jane Black |

‘Queer Spaces’ at Whitechapel Gallery documents the disappearance of many of London’s LGBTQ+ venues

BY Juliet Jacques |

At Ujazdowski Castle, Warsaw, Simon’s art is a prescient critique of art-making itself

BY Pablo Larios |

In Rezaire’s work, prehistoric West African landmarks stand for enigmas of the past and future

BY Kadish Morris |

Considering our scripted future at Helsinki Contemporary 

BY Tom Jeffreys |

The artist’s montages, at David Lewis, New York, are elegant but cryptic reflections on belonging and complicity

BY Mitch Speed |

The works on paper at Parker Gallery, in Los Angeles, ‘encounter memories, fantasies and dream images along the way’

BY Jonathan Griffin |

At the Met Breuer, a winding path guides viewers through the late artist’s seductive, organic sculptures 

BY Sophie Kovel |

The artist’s witty, immersive retrospective at the Art Gallery of Ontario broaches basketball, Indigenous culture and gay desire 

BY Charles Reeve |

A group exhibition at ACCA, Melbourne, ‘pulls back the skin on suffering and selfhood’

BY Sophie Knezic |

In the French artist’s evocative exhibition at Marcelle Alix, Paris, blind spots transform into vantage points

BY Yelena Moskovich |

A new show at Richard Saltoun begs the question – how effective is self-inflicted violence?

BY Izabella Scott |

At Singapore’s Yeo Workshop, the artist unsettles the image of Southeast Asia as a tropical getaway

BY Wong Binghao |

As her retrospective at MAXXI in Rome attests, the late Italian artist believed in the power of the imagination to save lives 

BY Ana Vukadin |

At Museo Jumex, Mexico City, the father of the readymade gets overshadowed by bluster

BY Fanny Singer |

The artist’s new series of paintings at Berlin’s Galerie Barbara Weiss unseats our fantasies of concealment

BY Greg Nissan |

The triumphant virtuosity of Euler’s latest paintings at Berlin’s Galerie Neu

BY Kirsty Bell |

At The Drawing Center, New York, artists and writers envision a world free of racism, sexism, colonialism and homophobia

BY Megan N. Liberty |

Two riveting shows, at Centre Pompidou-Metz and Basel’s Museum Tinguely, showcase the 75-year-old German artist’s ingenious capacity for invention

BY Jane Ure-Smith |

At Richard Gray Gallery, sociological statistics meet medieval sculpture in a powerful commentary on black life in the US 

BY Joel Kuennen |

‘The Construction of the Possible’ is the uneven result of a clash between artists and the Cuban government

BY Amy Zion |

‘Água Viva’ is a vision of a run-down and resource-scarce future

BY Dan Fox |

The Black female gaze shines resiliently through the stormy surfaces of the artist’s paintings on view at Hauser & Wirth

BY Rebecca Rose Cuomo |

With over 100 works, ‘Straying from the Line’ brings together superb work under the rubric of anti-essentialism

BY Mitch Speed |

Spread across four German cities, this year’s ‘Ruhr Ding’ explores art in public space in a former industrial region

BY Carina Bukuts |

From her kitchen table in Canterbury, the Australian curator quietly reinvented the exhibition format

BY Philomena Epps |

In his first show at Callicoon Fine Arts in New York, the artist probes the ways we use – and abuse – objects  

BY Shiv Kotecha |

Their latest show at Kölnischer Kunstverein sees the post-conceptual duo bite into the exclusionary social realities of art making

BY Stanton Taylor |

At Kolkata’s Experimenter, the collective find coincidence and contradiction in the archive of The Hindu newspaper

BY Skye Arundhati Thomas |

A survey of the artist’s paintings and sculptures at Chicago’s Kavi Gupta skewers drug companies’ marketing tactics in the midst of the US opioid crisis

BY B. David Zarley |

Kasper reflects on a world in which everyone is a critic, every space a studio

BY Sarah E. James |

At once elegiac and angry, a new show of paintings illuminates the filmmaker’s ambivalent relationship with religion

BY Daniel Culpan |

At the Brooklyn Museum, a landmark exhibition of never-before-seen photographs captures a rich spectrum of postwar American life

BY Ian Bourland |

For her show in Grand-Hornu, the artist delves into the Mundaneum, a 19th-century utopian project to classify all human knowledge

BY Hettie Judah |

In her solo show at Galerie Eva Presenhuber in New York, the artist’s precision leaves all possible disorder to signification

BY Rainer Diana Hamilton |

A group show at SOAS, London, explores the complex, often violent, cultural legacies that have shaped the country 

BY Cleo Roberts |

At Hive, Beijing, Yu Linhan’s abstract representations of medical equipment are unsettling and beautiful

BY Nooshfar Afnan |

A two-part survey of the artist’s work at the San Francisco Museum of Modern Art and Yerba Buena Center for the Arts foregrounds dialogue as a radical political act

BY Liz Hirsch |

The painter’s first European retrospective since the 1960s finally allows her to step out of Jackson Pollock’s shadow

BY Phoebe Cripps |

At Bombas Gens, Valencia, a retrospective of the terrestrial geographies of the overlooked painter

BY Max Andrews |

A new exhibition at Birmingham’s Ikon Gallery feels at once reminiscent and foreboding

BY Aurella Yussuf |

More than 80 works from four decades mine the tension between beauty and horror

BY Hili Perlson |