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by Holger Hiller & Albert Oehlen

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Holger Hiller & Albert Oehlen

frieze d/e

Winter 2011–12
Issue 3

First published in Issue 3

Winter 2011–12

Most Read

David Hammons, The Wine Leading  the Wine, c.1969, body print, 1 × 1.2 m. Courtesy: George Economou Collection, Athens; photograph: Bill Orcutt 

Review

Mnuchin Gallery, New York & The George Economou Collection, Athens

Review

Dulwich Picture Gallery, London, UK

Feature

A new Smithsonian Museum highlights African American history and culture

Feature

The multiple worlds of Hugh Frost and Leon Sadler’s experimental magazine-turned-exhibition, Mould Map

Culture Digest

From gay communes to surrealist ethnography: what to read about this weekend

Culture Digest

The final part of this week's Culture Digest looks at two recently reissued books by Eileen Myles

News

Finland cuts state funding for Guggenheim’s proposed Helsinki museum; Barack Obama to inaugurate new Washington D...

Picture Piece

Georgiana Houghton's 19th-century spirit paintings

Feature

On using art to reflect on its own labour

Review

Holmwood House, Glasgow, UK

Feature

Surrealism, anthropology and the history of the recently re-opened Musée de l'Homme

Feature

With the opening of artist's major MoMA show, some reflections on Kai Althoff's exalted characters and...

Critic's Guide

The best shows opening as part Berlin Art Week
Elephant, Palais des Glaces, Paris. Photograph: Pierre Antoine

Influences

From hissing dragons to oozing amoebas: as his show opens at Stuart Shave/Modern Art, the London-based artist...

Culture Digest

The first of this week's three book columns looks at the second instalment of Rachel Cusk's trilogy
Elfie Semotan, Untitled, 2016, archival pigment print, 47 x 61 cm. Courtesy: Gisela Capitain, Cologne © the artist

Critic's Guide

A round-up of the best recently opened shows in the neighbouring Rhineland cities

Influences

From Jenny Holzer to the Ferguson protests, the filmmaker shares some important images ahead of her show at Ryan Lee
Alicia Barney, Valle de Alicia (Valley of Alicia), 2016, metal, wood, paper, PVC, acrylic emulsion, dimensions variable. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal, 2016. Photograph: Leo Eloy / Fundação Bienal de São Paulo

Critic's Guide

First impressions of the biennial which focuses on the uncertainty of today’s world

Review

Institute of Contemporary Art, Boston, USA

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