Ed Atkins

From the exhibitions attempting to formulate ‘an acerbic language that speaks to our present epoch’, curator Samuel Leuenberger's highlights

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

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

Cal Revely-Calder wins the 2017 prize for his review of Dom Sylvester Houédard's exhibition 'Typestracts'

This year’s prize, judged by Ed Atkins, Chris Kraus and Pablo Larios, is now open for entries

The first of our 2016 highlights series features Marianna Simnett, Stranger Things, and a trio of the year's best 'freak moments'

Anna Franceschini, What Happened to the Girl?, 2016. Courtesy: the artist 

Ed Atkins, Carol Rama, Wael Shawky, and more: this week's must see shows and events

To celebrate frieze’s quarter century, the editors choose 25 key artworks: one for each year of the magazine’s existence

The collector, primarily of digital and time-based art, explains why she is opening a space in Berlin

Ed Atkins, Ribbons, 2014, HD film still. Courtesy: the artist and Cabinet, London

The difference between ‘what if’ and ‘as if’ scenarios, and what contemporary art has to do with it

Abjection has gained renewed currency as art looks to the body and states of digital and physical decay

dépendance, Brussels, Belgium