Issue 235
May 2023

‘My biggest message to queens: we come from the earth.’ – ANOHNI

In the May issue of frieze, editor-in-chief Andrew Durbin profiles ANOHNI, and a comprehensive oral history of New York’s Orchard Gallery, including contributions from Rhea AnastasMoyra DaveyAndrea FraserNicolás GuagniniGareth JamesChristian Phillip MüllerJeff PreissR. H. QuaytmanKarin SchneiderJason Simon and Bennett Simpson

Profile: ANOHNI

‘She sang of longing and dysphoria, her voice conveying the melody of those feelings we were forbidden from saying aloud.’ Editor-in-chief Andrew Durbin profiles the celebrated singer and artist.

Oral History: Orchard

‘We were not aspiring to the gallery model, but to the utopian model.’ An oral history of Orchard – the legendary, artist-run space on New York’s Lower East Side by Rhea Anastas, Moyra Davey, Andrea Fraser, Nicolás Guagnini, Gareth James, Christian Philipp Müller, Jeff Preiss, R.H. Quaytman, Karin Schneider, Jason Simon and Bennett Simpson.

Also featuring  

Associate editor Vanessa Peterson speaks to photographer Dayanita Singh ahead of her major survey at MUDAM, Luxembourg. In ‘1,500 Words’, John Keene writes on AIDS, memory and photography in the work of Darrel Ellis, the subject of a survey at The Bronx Museum.

Columns: Time Warp  

Vivian L. Huang profiles artist Tehching Hsieh, known for creating durational performances that last an entire year; Gary Zhexi Zhang unpacks the ideas behind his latest book, Catastrophe Time! (2023); curator Stuart Comer discusses his personal time capsule with associate editor Marko Gluhaich; Sayuri Okamoto examines the writing of Yoshimasu Gozo, whose poetry has little use for ordinary notions of time and space. Plus, coinciding with her exhibition ‘Timelapse’ at Guggenheim, New York, Sarah Sze meets with Erika Balsom.  

Finally, Sasha Frere-Jones responds to La Monte Young’s Dream House (1969) for its 30th anniversary in Tribeca. Plus, Going Up, Going Down charts what’s hot and what’s not in the global art world, and we bring you the latest iteration of our Lonely Arts column.

From this issue

The poet and artist creates works that occupy a transitional state between life and death

BY Sayuri Okamoto |

Considering the art and writing of the New York based artist, whose work delved into the distances of time and memory

BY John Keene |

MoMA curator Stuart Comer examines the role of everyday items as a way to approach traumatic histories

BY Stuart Comer AND Marko Gluhaich |

In New York, La Monte Young and Marian Zazeela’s permanent sound and light installation continue to amaze its visitors

BY Sasha Frere-Jones |

After a seven-year hiatus, the artist returns this summer with a startling new album of ‘true feelings’

BY Andrew Durbin |

On the occasion of her show at the Guggenheim Museum, the artist discusses how shifts in scale and juxtaposition reflect an experience of time

BY Erika Balsom AND Sarah Sze |

On the occasion of his new book Catastrophe Time!, Gary Zhexi Zhang questions how we make sense of our era when history seems to speed by us

BY Gary Zhexi Zhang |

Ahead of a survey opening at MUDAM Luxembourg in May, the artist speaks about her pioneering practice bridging photography and experimental book forms

BY Vanessa Peterson AND Dayanita Singh |

How the artists’ solo works confront difficult realities in the wake of their collaborative venture, Circular File

BY Brian Droitcour |

At the Museum of Applied Arts, Vienna, the artist’s recent works explore the politics of human production and consumption

BY Krzysztof Kościuczuk |

In ‘Time Clock Piece’ the artist punched a time clock every hour for a year, capturing the synchronicity of ‘life time’ and ‘art time’

BY Vivian L. Huang |

At Fotomuseum Winterthur, ‘Aphasia’ addresses the barriers that the dominance of the French language imposes on civic participation

BY Ann Mbuti |

In the artist’s hometown of Mumbai, the Jehangir Nicholson Art Foundation presents a survey of her work contextualized within the broader artistic community of post-independence India

BY Emilia Terracciano |

At Noah Klink, Berlin, the artist’s dog paintings are disarmingly joyful depictions of human-animal relationships

BY Kito Nedo |

At Gallery Baton, Seoul, the artist presents new paintings that are an analogue take on the LED installations for which he is best known

BY SooJin Lee |

At Luhring Augustine, New York, the sculptor's embalmed everyday objects memorialize both personal and collective transformation

BY Rebecca Rose Cuomo |

At M HKA, Museum of Contemporary Art Antwerp, the artist’s career retrospective takes influence from Gloria E. Anzaldúa and James Joyce

BY Laura Herman |

At Pinacoteca de Estado, São Paulo, the artist toes the fragile line between language, bodies and the environment

BY Ela Bittencourt |

At Matèria, Rome, the artist’s beeswax sculpture of a key figure in Buddhism reflects a significant moment in Mongolian history

BY Ana Vukadin |

The Glasgow-based polymath’s solo show at Chapter, Cardiff, is rigorously informed by ancient and mediaeval religions and spiritual movements

BY Dylan Huw |

At TRAMPS, New York, the stalwart of the Lower East Side art and music scenes transmutes a painful personal archive into new assemblages

BY Madeleine Seidel |

At ARoS Aarhus Art Museum, an exhibition dedicated to tapestries continues the artist's interest in the construction of persona through social media

BY Alice Godwin |

The artists present playfully experimental new work in the convivial outdoor environment of Hakuna Matata, Los Angeles

BY Gracie Hadland |

At Jeu de Paume, Paris, the artist’s career survey underscores his lifelong project to explore the gap between artificiality and reality

BY Zoe Cooper |

A three-part exhibition at CCA Wattis Institute for Contemporary Arts, San Francisco, draws on the ensemble form and musical score to deliver a vision of cacophonous community

BY Tausif Noor |

At Greene Naftali, New York, the shape-shifting collective's new paintings and sculptures reveal the limits of a generational cynicism in 2023

BY Simon Wu |

At Modern Art, London, ‘The Moth and the Thunderclap’ contains works by over 40 artists channelling the energies of the natural world 

BY Aliya Say |

At Art Gallery of York University, Toronto, the multi-panel paintings and prints confront notions of subjecthood through theories of the subconscious

BY Xenia Benivolski |

The inaugural show at London’s reopened Raven Row presents episodes of ‘Open Door’, a radical 1970s media production model 

BY Juliet Jacques |

At Corbett vs. Dempsey, Chicago, the lauded musician shows artwork that reveals his decades-long experimentation in each discipline through the practice of the other

BY Dmitry Samarov |

At Kerlin Gallery, Dublin, the artist’s domestic objects are playfully at odds with a world dominated by rigid functions

BY Frank Wasser |