Old Food, 2017, production still. Courtesy: the artist, Galerie Isabella Bortolozzi, Berlin, Cabinet Gallery, London, Gavin Brown’s Enterprise, New York and Rome, and dépendance, Brussels

Helen Marten responds to Ed Atkins’s new work, Old Food, currently showing at Martin-Gropius-Bau, Berlin

Recent instances of censorship show an emboldened far right attacking the arts, queer identity and more: artists, curators and writers respond

Wong Kar-wai, Happy Together, 1997, film still. Courtesy: the artist and Alamy 

From the new issue of frieze: Changes in urban cultures and queer aesthetics across the Sinosphere 

Celeste Dupuy-Spencer, Durham, August 14, 2017, 2017, oil on canvas, 71 × 89 cm. Courtesy: the artist and Marlborough Contemporary, London and New York

A new wave of figurative painting in recent New York exhibitions prompts critical questions about which bodies we depict, for whom and to what end

Critical Art Ensemble, Radiation Burn: A Temporary Monument to Public Safety, 2010, performance documentation. Courtesy: the artists

Blast Theory, Forced Entertainment and Slavs and Tatars: collectives fusing theatre, art, performance and politics to create interactive experience

Studio Formafantasma, Ore Streams, 2017, video still. Courtesy: the designers and National Gallery of Victoria, Melbourne

Alice Rawsthorn on the Italian design duo’s response to ecological and political concerns

James Ensor, Masks Mocking Death, 1888. Oil on canvas, 81 x 100 cm. Courtesy: Scala Archives, Florence

On the recurring appearance of the mask in art

Carrie Walter Stettheimer, Stettheimer Doll House (front view) c.1916–35. Wood, bronze, marble, alabaster, gilding, cardboard, paper, foil, linen, ceramic, oil, ink, watercolour, gouache, graphite, Conté, pastel, coloured pencil and other materials, 79 × 132 × 94 cm. Courtesy: Museum of the City of New York

From medieval Wunderkammern to portable museums, Duchamp’s suitcases, and dolls’ houses, the miniature is an enduring and radical art form

Jacob van Hulsdonck, A Still Life of a Laid Table, with Plates of Meat and Fish and a Basket of Fruit and Vegetables, undated. Oil on panel, 72 × 104 cm. Courtesy: Johnny Van Haeften, London

Meditations on still life

Installation view of ‘International Congress of African Culture’, 1962, a pan-African exhibition at the Rhodes National Gallery, Salisbury, Rhodesia (now Zimbabwe), which set a precedent for ‘Magiciens de la terre’, the Pompidou Centre, Paris, 1989. Courtesy: National Gallery of Zimbabwe, Harare

The context and legacy of Jean-Hubert Martin’s contentious 1989 exhibition, ‘Magiciens de la terre’

A survey of international writers, curators and artists in response to recent controversies surrounding appropriation

Hercules Florence Épreuve no.°2 (photographie), Ensemble d’étiquettes pour flacons pharmaceutiques (Print no. 2, Photography. Set of Pharmacy Labels) c.1833. Photographic copy of pharmacy labels obtained through direct contact with photosensitive paper under the action of sunlight, 22 × 20 cm. Courtesy: Instituto Moreira Salles Collection, Rio de Janeiro

The remarkable story of Hercules Florence and his pharmacy labels 


frieze video - 07 Mar 2018

Fifty years on, Ellen Mara De Wachter retraces Robert Smithson’s journey to his home town of Passaic, New Jersey, in search of the monuments of his time

Sponsored Content - 28 Feb 2018

‘A way for my subconscious to play’: With her show at Hauser & Wirth, London, Lorna Simpson talks life, work, and being an artist in these times

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