frieze magazine

Issue 192

January - February 2018

The January-February issue of frieze sees Hilary Lloyd creates a commissioned artwork, the first in our new ‘Visual Essays’ series; Amalia Pica interviews Beatriz González; plus monographs on Elaine Lustig Cohen and Angelica Mesiti.  Also featuring Dan Fox on the current nostalgia for New York's ‘bad old days’ of the 1970s and ’80s; Evan Moffitt explores how artists Bethany Collins, Steffani Jemison, Adam Pendleton and Kameelah Janan Rasheed are using black radical poetry to unpack subjectivity and race, and artist Haegue Yang, winner of the 2018 Wolfgang Hahn Prize, talks about the objects and ideas that have shaped her thinking. Plus: 48 exhibition reviews from around the world, and Glenn Brown answers our Questionnaire.

Museum of Contemporary Art, Taipei, Taiwan 

Thomas Dane Gallery, London, UK

Josh Lilley, London, UK 

Artists Beatriz González and Amalia Pica discuss painting, curating, activism and identity 

By and

Angelica Mesiti’s films explore the myriad ways humans communicate

On the prolific and varied career of artist, designer, collector and archivist Elaine Lustig Cohen 

"A –The Mail Art Archive of  Ruth Wolf-Rehfeldt and Robert Rehfeldt”, exhibition view at ChertLüdde, Berlin. Courtesy: The Ruth Wolf-Rehfeldt and Robert Rehfeldt Mail Art Archive and ChertLüdde, Berlin

ChertLüdde, Berlin, Germany

Clarissa Tossin, Maya Blue, 2017, performance documentation. Courtesy: the artist

Los Angeles Municipal Art Gallery, Los Angeles, USA

Installation view, 'Oskar and Zofia Hansen', 2017, Museum of Modern Art in Warsaw, Poland. Courtesy: Museum of Modern Art in Warsaw; photograph: Bartosz Stawiarski

Museum of Modern Art in Warsaw, Poland

Annie Pootoogook, Annie and Andre, 2009, coloured pencil and graphite on paper, 50.1 x 66.2 cm. Courtesy:  McMichael Canadian Art Collection, Kleinburg

McMichael Canadian Art Collection, Kleinburg, Canada

Lin May Saeed, Lobster, 2017. Metal, 11 x 24 x 14.5 cm. Courtesy: the artist, Nicolas Krupp, Basel, Jacky Strenz, Frankfurt am Main and Lulu, Mexico City

Lulu, Mexico City, Mexico

Fahrelnissa Zeid, My Hell, 1951, (detail), oil paint on canvas, 2.1 x 5.3 m. Courtesy: Istanbul Museum of Modern Art, Shirin Devrim Trainer and Raad Zeid Al-Hussain, © Istanbul Museum of Modern Art/ Raad Zeid Al-Hussein; photograph: Reha Arcan

Deutsche Bank KunstHalle, Berlin, Germany