Issue 241
March 2024

‘Just slapped together and illegal, and nobody really cared.’ Lindsay Lawson on Berlin’s Times Bar

In the March issue of frieze, Jeppe Ugelvig profiles artist Nina Beier, ahead of two major museum shows. Plus, an extensive oral history of Berlin’s legendary Times Bar with contributions from Karen Archey, Dan Bodan, Skye Chamberlain, Simon Denny, Calla Henkel, Lindsay Leonard, Ken Okiishi and Max Pitegoff.

Profile: Nina Beier

‘Beier is unafraid to admit that she’s a hoarder. She collects widely and indiscriminately.’ Ahead of the artist’s two solo exhibitions at the Kiasma, Helsinki and Museo Tamayo, Mexico City, Jeppe Ugelvig considers the artist’s penchant for critiquing commodity fetishism.

Oral History: Times Bar

‘It was chaos, so you either dipped into it or you didn’t.’ In 2011, the artists Calla Henkel, Lindsay Lawson and Max Pitegoff opened a small bar in Berlin. It proved to be both a symbol and a catalyst for a rapidly changing city.

Also featuring  

Harlem-native artist Nari Ward speaks with long-time friend and collaborator LeRonn P. Brooks about the performance of objects and the devotional spirit they inhabit. Assistant Editor Sean Burns celebrates the influential artist and performer David Hoyle ahead of his homecoming retrospective and residency in Manchester. Lauren Elkin analyses the subversive relationship between gender, textiles and artistic production.

Columns: Outer Depths  

Holly Pester shares a poem from the perspective of an eel, while Ella Finer delves into the sonic frequencies outside of humans’ range. Jonathan Griffin interviews filmmaker Meredith Lackey, and Rob Goyanes examines the uncanny pull of Ahmed Morsi’s fish. Eric Otieno Sumba profiles artist Dominique White, the recipient of the 2022-24 Max Mara Art Prize for Women.

Finally, Philomena Epps responds to a single work by Yoko Ono, Calla Henkel and Max Pitegoff contribute to the series of artist ‘to-do’ lists and the latest iteration of our Lonely Arts column.

From this issue

The artist discusses how his sculptural practice is grounded in the invisible with long-time friend and collaborator LeRonn P. Brooks

BY Nari Ward AND LeRonn P. Brooks |

A personal response to the influential artist and performer ahead of his homecoming retrospective and residency in Manchester 

BY Sean Burns |

A new film sees the director pursing the Huawei controversy and the potential ‘threat’ of 5G technology

BY Jonathan Griffin AND Meredith Lackey |

A visit to the artist’s Copenhagen studio revealed an obsession with animals, objects and commodity fetishism

BY Jeppe Ugelvig |

Unidentifiable noises from the ocean floor beg the question, how do we name sounds we don’t fully understand?

BY Ella Finer |

The artist's otherworldly aquatic scenes maintain a mysterious and intriguing attraction

BY Rob Goyanes |

Her marine sculptures and installations envision the future from the bottom of the ocean

BY Eric Otieno Sumba |

As a major retrospective opens in London, we take a rearview of one of her most iconic works 


BY Philomena Epps |

The artist curates a party playlist that captures Times Bar's dynamic atmosphere

BY Max Pitegoff |

Poet Holly Pester interprets our invitation from the outer depths

BY Holly Pester |

As major shows open on both sides of the Atlantic, we examine the medium’s subversive relationship with gender 

BY Lauren Elkin |

At JOAN, Los Angeles, the artist grapples with perspectives on power and domination

BY Hande Sever |

An exhibition in Toyko sees the artist engage one of the earliest forms of photography to capture quiet, almost apparitional, landscapes

BY Nicholas Gamso |

At the New Museum, Jade Guanaro Kuriki-Olivo gives us a verdant glimpse into her private life 

BY John Belknap |

At Gypsum, Cairo, the artist’s new series shows the ease with which art is turned into a decorative commodity

BY Yasmine El Rashidi |

At Kasmin, New York, the artist’s new body of sculptures and drawings feel frozen between solid and liquid

BY Rebecca Rose Cuomo |

At Casas Riegner, Bogotá, the artist fashions spaces for community and security

BY Jennifer Burris |

At Kiang Malingue, Hong Kong, the artist continues his investigations into the apparatus of artmaking through five new videos

BY Alex Jen |

At Rockbund Art Museum, Shanghai, the artist’s olfactory installations yield to the unreliability of memory

BY Hindley Wang |

In Margate, a group exhibition ‘edited’ by the artist evokes a pervasive mood of dread surrounding class and capitalism

BY Joe Bobowicz |

At Anat Ebgi, Los Angeles, sculptures and collages reference modesty screens, BDSM and gay porn mags to index the trans experience

BY Alice Bucknell |

Utopian sculptures and drawings unexhibited since their making are on view at Marc Selwyn Fine Art and Hannah Hoffman, Los Angeles

BY Claudia Ross |

At the Fine Arts Museum, the greatest delights of ‘Small World’ are artworks that play with an absence of body or sound

BY Sean Burns |

‘Cosmos Cinema’, the 14th Shanghai Biennale at Power Station of Art, explores economic exploitation and escapism during our current Cold War


BY Paul Han |

At Tina Kim, New York, the artist welds together the pursuit of liberation in the symbolic, psychic and lived realms

BY Danielle Wu |