Issue 230
October 2022

‘I continue to be invested in how we got here.’ – Garrett Bradley

The October issue of frieze leads with a profile on Garrett Bradley on the occasion of the US-based filmmaker’s debut UK solo show at Lisson Gallery. Plus, in a dossier on London’s young gallery scene, four writers profile Ginny on Frederick, Guts Gallery, Home and Queercircle about taking risks and supporting fledgling artists in the capital city. And Camilla Grudova writes 1,500 words on the real and imagined women of art history who inspired her to become a novelist.

Essay: Brian Dillon on Kate Bush

Following the renewed popularity of Bush’s ‘Running Up that Hill’ (1985), Dillon looks back on the singer’s lesser-known fourth studio album, The Dreaming (1982) – an experimental release that best reflects the artist’s musical ferocity.

Interview: Barbara Chase-Riboud

'I discovered new civilizations and new ways of looking at the world.’ Senior editor Terence Trouillot speaks with the artist about her recent exhibitions at the Pulitzer Arts Foundation in St. Louis and the Serpentine Gallery in London, her memoirs and how her writing and art practice are meeting for the first time.

Columns: Spell it Out

The issue opens with a series of columns on the theme of communication: Emily McDermott reflects on Christine Sun Kim’s role as an artist and activist for the Deaf community; publisher Sarah Shin tells Vanessa Peterson about creating spaces for the unknown at Ignota Books; Lindsay Choi looks at two works by artist and writer Theresa Hak Kyung Cha; artists Dara Birnbaum and Martine Syms discuss the systems and ideologies underpinning media today. Plus: Laura McLean-Ferris unpacks the ‘inner clown’ in Nuar Alsadir’s new book Animal Joy.

In addition, Aldeide Delago writes about a single work by the Cuban artist Belkis Ayón, frieze’s Lonely Arts explores art kinks and, finally, Going Up, Going Down charts the rise of novels about poets and the decline of ‘friendly’ design…

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From this issue

Camilla Grudova revisits the mythical and real women of painting who influenced her fiction – and adulthood

BY Camilla Grudova |

Emily McDermott profiles the artist and reflects on an arts practice that transcends boundaries of language and cultural identity

BY Emily McDermott |

On occasion of the artist’s posthumous retrospective at Ludwig Forum, Aachen, Aldeide Delgado unpacks the symbolism of La sentencia (1993) 

BY Aldeide Delgado |

Sarah Shin shares the history of the press and its interest in different forms of communication

BY Sarah Shin AND Vanessa Peterson |

Lindsay Choi looks at two works by the artist that invite her audience to mutual exchange


BY Lindsay Choi |

The artists discuss the systems and ideologies underpinning media and the ways images are distributed today

Guts Gallery founder Ellie Pennick employs an equitable business model to empower the next generation of artists

BY Philomena Epps |

Sean Burns visits a nascent gallery that is fast becoming a champion of intersectional voices from across the capital

BY Sean Burns |

Sam Moore profiles the shape-shifting gallery space in London that has become an imaginarium for ambitious early-career artists

BY Sam Moore |

The gallerist’s intimate exhibition space in London is a refuge for underserved creative communities

BY Charlotte Jansen |

The artist speaks with Terence Trouillot about how her art and writing have finally met

The Oscar-nominated filmmaker discusses how she imbues topics relating to race, class and social justice with poetic urgency

BY Allie Biswas |

In her new book, Animal Joy, poet and psychoanalyst Nuar Alsadir explores the role of the ‘inner clown’ in art and politics

BY Laura McLean-Ferris |

Brian Dillon on the 40th anniversary of the singer’s lesser-known record, The Dreaming

BY Brian Dillon |

A posthumous retrospective of the artist’s work at Bildmuseet, Umeå, aims to redress the art-historical record

BY Matthew Rana |

Inspired by a cult Sci-Fi TV show, the artist’s first exhibition at Hot Wheels, Athens, warps the simulated/real dialectic

BY Gabriella Pounds |

The artist’s large-scale exhibition at the Walther Collection, Ulm, displays his skill for impersonation and adds depth to the genre of self-portraiture

BY Eric Otieno Sumba |

The second iteration of the Cleveland Triennial for Contemporary Art asks what art can do in an increasingly fraught political climate, but simply offers symbolic gestures

BY Alex Jen |

A group show at Times Museum, Guangzhou, traces waterways in Southeast Asia and the cultures, communities and survival strategies forged in their wake

BY Qu Chang |

A group show at Singapore Art Museum’s new outpost invites viewers to discern the flows of capital in contemporary life and imagine more humane systems

BY Christine Han |

The artist opens Xavier Hufkens redesigned St-Georges space with several recent bodies of painting, photography and sculpture

BY Laura Herman


A retrospective at Kettle’s Yard, Cambridge, highlights the artist's uses of collage and abstraction to circle blatant and coded atrocities

BY Lauren Dei |

‘Interior Garden’ at the Chinese Culture Center of San Francisco offers catharsis amidst the cycles of ruin, grief and hope that mark our lives

BY Vivienne Liu |

A recent survey at the Williams College Museum of Art, Massachusetts, celebrates a career-long preoccupation with biomorphic forms

BY Cassie Packard |

At Grazer Kunstverein, the artist reveals the institution as a sum of its dependent parts

BY Olamiju Fajemisin |

An exhibition at the Irish Museum of Modern Art, Dublin, celebrates the collective’s pioneering approach to the video essay

BY Chris Hayes |

A show of the artist’s new work at Kristina Kite, Los Angeles, slides between inanimate and living, sculpture and performance, artist and viewer

BY Gracie Hadland |

‘ALL VERBS’ at Hauser & Wirth highlights more nuanced forms of action in the artist’s oeuvre

BY Noah Dillon |

At Galerie Peter Kilchmann, Zurich, the LA-based artist’s portraits harness a provocative tension between figuration and abstraction

BY Mitchell Anderson |

At Sadie Coles HQ, London, the artist turns his pin-sharp brushwork to depth and volume, conjuring surfaces that seemingly scoop and protrude

BY Matthew McLean |

The artist’s new show at King’s Leap, New York, uses ‘TIME’ magazine to unpack recent historical narratives

BY Travis Diehl |

The artist’s survey at the Japan Society, New York, foregrounds the body, labour and process

BY Mariana Fernández |

At Compton Verney, the artist’s first large-scale survey celebrates a career spent experimenting with colour

BY Cathy Wade |

The group show at MoMA PS1 reflects on the history of artist-cultivated gardens, from Tom Burr’s dioramas of The Ramble in Central Park to Poncili Creación’s defiant garden gnomes

BY Maxwell Smith-Holmes |

For his show at kurimanzutto in Mexico City, the artist collaborates with Indigenous potters Cooperativa 1050° to rediscover age-old arts and crafts

BY Mebrak Tareke |

At Le Confort Moderne, Poitiers, a retrospective of the famed founder of The Church of Euthanasia invites you to sacrifice everything for the greater good

BY Vincent Simon |

The artist and poet invites us into her world of rage, vulnerability and humour at ICA, London

BY Ella Slater |

A staged ‘not closing down sale’ at Ginny on Frederick, London, advertises a space in which nothing is quite as it seems

BY Donna Marcus Duke |

At Pinacoteca Agnelli, Turin, the artist’s works playfully subvert the art historical canon

BY Saim Demircan |