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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.

Illustration by Lauren Rolwing

On losing faith in generalism, learning to listen and embracing doubt 

By Jonathan Griffin
Haegue Yang, Lingering Nous, 2016, installation view (detail) at Centre Pompidou, Paris. Courtesy: Centre Pompidou, Paris; photograph: Florian Kleinefenn

Elephants, identity and abstraction: The winner of the 2018 Wolfgang Hahn Prize reveals the objects and ideas that have shaped her thinking

By Haegue Yang

Palais de Tokyo, Paris, France 

By Lorena Muñoz-Alonso

How Bethany Collins, Steffani Jemison, Adam Pendleton and Kameelah Janan Rasheed are using the tradition of black radical poetry to examine questio

By Evan Moffitt

National Gallery of Victoria, Melbourne, Australia

By Inga Walton

Various venues, Turkey

By Matthew McLean

The Third Line, Dubai, UAE

By Katrina Kufer

Museum of Contemporary Art, Taipei, Taiwan 

By Alvin Li

Thomas Dane Gallery, London, UK

By Rebecca Swirsky

Gallery 1957, Accra, Ghana

By Sean O'Toole

Secession, Vienna, Austria

By Hans-Jürgen Hafner

Josh Lilley, London, UK 

By Caroline Marciniak