Issue 216
January/February 2021

‘You don’t have to produce a certain kind of art and you don’t need validation from certain kinds of institutions.’ –  Ajamu   

In the January/February issue of friezeKevin Brazil profiles Brixton-based photographer Ajamu, whose solo exhibition at Cubitt, London, opens in early 2021Jane Ure-Smith interviews the painter Michael Armitage on the occasion of a major show at Haus der Kunst, Munich; and Vincent Fecteau answers our questionnaire. 

Profile: Kevin Brazil on Ajamu   

‘The darkroom teaches you that maybe waiting, and nothing happening, can be enough’. In his darkroom in Brixton, south London, the photographer Ajamu celebrates the pleasures of community and the Black male body

Conversation: Jane Ure-Smith and Michael Armitage 

‘I only have a sense of belonging in Kenya’. With a solo show at Munich’s Haus der Kunst, the Kenyan-British artist Michael Armitage speaks with Jane Ure-Smith about the canvas as conflict, his painterly East African influences and founding an experimental arts space in Nairobi. 

Also featuring 

Susan Bernofsky contributes ‘1500 words’ on her experience translating the words of German novelist Thomas MannCarson Chan’s essay explores artists’ elemental turn towards water and alchemy. Plus, a dossier on the history of domestic exhibition spaces in Los Angeles with contributions from 10 artists, curators and dealers, including Taylor Renee AldridgeLiz CraftDiana Thater and a commissioned photography by Janna Ireland. 

Columns: Mirror Image  

Artist Barbara Bloom speaks to Evan Moffitt about the use of mirrors in her works and the nature of perception; Priya Khanchandani looks at the phenomenon of the ‘cyborgian face’ in an age of Zoom, and contributing editor Barbara Casavecchia remembers designer and artist Enzo Mari. Also, in anticipation of its final series, Alissa Bennett watches every episode of Keeping Up with the Kardashians (2007-2021) and Christy Lange examines the rise of ‘deepfakes’.

From this issue

Liz Craft, Emma Gray, Pentti Monkonnen and Thomas Solomon discuss the exhibition programmes they launched in their homes

Artists and writers reflect on domestic exhibition spaces in Los Angeles, from 1940 to the present

Brian Butler, Sarah Lehrer-Graiwer and Diana Theater discuss why LA has been home to so many experimental venues over the last 40 years 

Art and the climate share a crucial trait – rapid change. Carson Chan explores how a theory of ‘liquid modernity’ has made new waves in art and asks: What if art institutions acted like water?

BY Carson Chan | 28 JAN 21

As the iconic reality series airs its 20th and final season, and amongst rumours of ‘Kimye’s’ divorce, Alissa Bennett explores how the Kardashians changed American culture – and themselves

BY Alissa Bennett | 08 JAN 21

In Bashinda (2020), Rahal constructs an imaginary world very much rooted in India’s current sociopolitcal landscape

BY Mahan Moalemi | 03 JAN 21

The need for a digitally touched-up ‘public face’ has become constant and commonplace

BY Priya Khanchandani | 02 JAN 21

In his home studio the artist explores pleasure, privilege and how ‘through our body, we bring our archives’

BY Kevin Brazil | 14 DEC 20

From Stephanie Lepp to Francesca Panetta and Halsey Burgund, artists are using AI to reveal the fragility of our trust in basic information

BY Christy Lange | 03 DEC 20

The artist discusses her use of mirrors and their ‘destabilizing’ effects

BY Barbara Bloom AND Evan Moffitt | 03 DEC 20

A century ago, the novelists Hermann Hesse and Thomas Mann depicted a world recovering from war and pandemic. What can we learn from translating their works today?

BY Susan Bernofsky | 02 DEC 20

The San Francisco-based sculptor answers the frieze questionnaire

BY Vincent Fecteau | 02 DEC 20

With a new show, ‘Paradise Edict’ at the Haus der Kunst, Munich, Jane Ure-Smith chats to the artist about his influences and the power parallels between modern politics and historic Christian art

BY Jane Ure-Smith AND Michael Armitage | 02 DEC 20