Issue 256
January/February 2026

‘I want to represent the experience of being part and parcel of the tyranny of images.’ Sam Lipp

For the January/February issue of frieze magazine, Shiv Kotecha profiles artist Sam Lipp in anticipation of his show at Soft Opening, London. Plus, an expansive oral history on Culver City’s Mandrake Bar celebrates its 18-year legacy as a creative hub for local artists.

Profile: Sam Lipp

‘I want to be the renderer and have the models act as if they were actors in a script. For more than a decade, Sam Lipp has questioned what it means to picture flesh, desire and damage in paintings where the image itself becomes the body.

Oral History: I Thought California Would Be Different

A group of writers, artists, curators and art dealers reflect on the Mandrake, a DIY art bar in Culver City, California, opened by young New York artists in the early 2000s that became the watering hole – and beating heart – of the Los Angeles art scene for nearly two decades.

Also featuring  

Carol Bove speaks to poet Ariana Reines about spiritual blind spots and the esoteric histories shaping her Guggenheim ‘Fifth Avenue era’. Ian Bourland pens a thematic essay on how political upheaval in Washington, DC imperils cultural institutions, as firings, censorship and fear erode the independence of museums and archives. In ‘1,500 Words’, Stephanie Wambugu recounts the influence of Beverly Buchanan on her novel Lonely Crowds (2025).

Columns: The Shape of Shape

Christopher Alessandrini profiles visual artist Nicholas Party; Lauren O’Neill-Butler examines how Ulrike Müller’s animated forms merge feminist critique and abstraction across mediums; Magali Reus speaks to senior editor Marko Gluhaich about translating fishing into sculpture, using silhouettes and aquatic metaphors to examine perception; Claudia Ross offers an essay on Pitupong Chaowakul’s architecture marking his participation in the Thailand Biennale; Jenny Harris interviews painter Amy Sillman, revisiting her exhibition ‘The Shape of Shape’ (2019–20) at MoMA, New York.

Finally, Edna Bonhomme responds to Widline Cadet’s photograph Manyen distans (Touching Distance, 2023). Plus, Magali Reus contributes to our series of artists’ ‘to-do’ lists, and senior editor Marko Gluhaich pens a postcard from Paris.

From this issue

In her latest series, the artist flirts with silhouettes and revels in cunning – the art of luring, hooking and capturing the viewer

BY Magali Reus AND Marko Gluhaich |

In Manyen Distans, the photographer’s surreal image evokes the lougarou of Haitian folklore – a werewolf-like shapeshifter glimpsed at the threshold between worlds

BY Edna Bonhomme |

His referential grottoes, forests, glaciers and mythical islands seem playful at first, yet closer attention reveals environments charged with psychological unease

BY Christopher Alessandrini |

In her Vienna studio, Müller navigates the margins of art history, delighting in gaps, absences and overlooked stories

BY Lauren O’Neill-Butler |

For more than a decade, the artist has rendered flesh, desire and damage into paintings where the image itself becomes the body

BY Shiv Kotecha |

As the President reshapes the nation’s capital, the city’s arts community struggles to withstand an administration obsessed with the arts

BY Ian Bourland |

The influential sculptor, whose mammoth works adorned the Met’s façade, reflects on the spiritual blind spots and esoteric histories behind her nearby Guggenheim show

BY Ariana Reines AND Carol Bove |

Novelist Stephanie Wambugu considers how the late artist’s eroding land works preserve memory and mark the passage of time

BY Stephanie Wambugu |

With his Bangkok-based studio, Supermachine, the designer proposes buildings to bend, weather and endure, imagining a city shaped by survival

BY Claudia Ross |

The artist and curator reflects on the making of a form-defining exhibition, which lends its title to a new suite of columns in our January issue

BY Amy Sillman AND Jenny Harris |

At the Queensland Art Gallery and Gallery of Modern Art in Brisbane, the award-winning installation honours the past, present and future of First Nations Australians

BY Annabel Keenan |

At neugerriemschneider, Berlin, the artist’s vivid computer generations suggest that technology won’t erase human labour but reconfigure its temporality

BY Edna Bonhomme |

Eschewing conventional retrospective models at Astrup Fearnley Museet, Oslo, the exhibition raises enduring questions of legacy and loss

BY Jonathan Odden |

Sam Bardaouil and Till Fellrath channel private and social longing, curating a show that shines most when engaging with the Taipei Fine Arts Museum’s collection

BY Sean Burns |

At Sadie Coles HQ’s new Savile Row gallery, the artist’s subjects gather in smoke-filled bars and boxing rings, their gazes unwavering, their power unmistakable

 

BY Emily Steer |

At DOOSAN Gallery, Seoul, a two-artist show about inheritance opts for connection over closure

BY Jiwon Yu |

Uniting 50 female artists across the MENA region, ‘Horizon in Their Hands’ explores how craft became a form of artistic liberation

BY Maghie Ghali |

Her retrospective at the Art Institute of Chicago highlights politically transformative relationships between Black women

BY Camille Bacon |

At Temple Bar Gallery + Studios, the work follows an Irish Nigerian driver’s extraordinary night-time trip through the streets of both cities

BY Tara McEvoy |

Bernardo José de Souza’s exhibition turns outer space inwards, building an environment where desire resists the pull of power

BY Ana Vogelfang |

‘The Three-Legged Cat’ reimagines the biennial format as a site of slow repair, touching on resilience and futurity

BY Rahel Aima |

His show at the Morris and Helen Belkin Art Gallery in Vancouver treats the suspension of time as a test of endurance

BY Xenia Benivolski |

At P420, Bologna, a group show featuring artists across four continents transforms acts of looking into gestures of empathy, urging us to pause and re-examine the world around us

BY Ana Vukadin |

At White Cube Paris, the artist combines domestic forms with eerie, David-Cronenberg-esque human figures to create surreal, haunting objects

BY Andrew Hodgson |

Led by artistic director Philippe Parreno, the fourth Okayama Art Summit is strange, beautiful and often off-putting

BY Emilia Wang |

At Victoria Miro, London, a multi-screen installation offers new, alternative perspectives on a 110-year-old film

BY Salena Barry |

At Kunstmuseum Basel, a group show charts 250 years of Western art’s fascination with the uncanny

 

BY Yaa Addae |

Her sumptuous works at the San Francisco Museum of Modern Art are unified by a propulsive, blooming quality

BY Blake Oetting |

At CIRCUIT Centre d'art contemporain, Lausanne, she retools modernist furniture into a vehicle for care, desire and vulnerability

BY Brit Barton |

At Neither in London, the artist’s love potions seductively blur the line between remedy and poison

BY Ellen Mara De Wachter |

In his show at Blindspot Gallery, Hong Kong, the artist considers war, occupation and their aftermaths in his birthplace

BY Aaina Bhargava |

In a series of videos at Amant, Brooklyn, the artist’s alter ego accesses truths about existence, time and reincarnation

BY Qingyuan Deng |

At CCA Berlin, the artist’s quiet studies of skin and surface reveal how the body both shelters and estranges us

BY Brooke Wilson |

At The Modern Institute, Glasgow, frenetic acrylic paintings and transformed found objects appear momentarily frozen – pinned in space as if caught mid-burst of becoming

BY Lisette May Monroe |

At Fluentum, Berlin, the artist’s films ask how justice survives when power turns abuse into spectacle

BY Louisa Elderton |

At David Kordansky Gallery, Los Angeles, a nighttime exhibition with live musical performance celebrates the creative legacies of Black Americans

BY Armando Pulido |

At diez gallery, Amsterdam, the artist exhibits stark images of the six-metre-tall hedge that shields the billionaire’s property from public view

BY Andrew Pasquier |

At Mattress Factory, Pittsburgh, the artist’s show about Egypt’s sun-dried tomato economy evokes mythologies around the mineral

BY Elizabeth Wiet |

At Ciaccia Levi, Paris, the artist’s ‘clothing-images’ repurpose second-hand garments into sculptures which question the performativity of identity

BY Sarah Moroz |

This year, centred on collaborative partnerships and social justice, Ireland’s premier art festival presents a dynamic programme of process-driven, community-focused works

BY Diana Bamimeke |

At Bureau, New York, his airbrushed paintings feature enigmatic forms that evoke the first cracklings of consciousness

BY Kit Schluter |

At David Zwirner, London, the artist’s nocturnal, otherworldly paintings are full of enigmatic symbols

BY Thomas McMullan |

At the Secession, Vienna, the artist’s hybrid works dwell in the in-between, embracing a fluid space of encounter

 

BY Simone Molinari |