frieze magazine

Issue 188

June - August 2017

Features include a short story by Joanna Ruocco inspired by the work of Anicka Yi; an interview with Irma Blank about her 50-year career; monographs on Tori Wrånes and Andy Holden; and a think piece by Susanne von Falkenhausen on the crisis of legitimation in art. Plus 38 exhibition reviews from around the world.

On the socially committed architecture of Diébédo Francis Kéré, winner of this year’s Serpentine Pavilion commission

By Jack Self

Art sees itself as facing a crisis of legitimation – can this account for claims to 'authenticity' being made in shows such as documenta 14?

By Susanne von Falkenhausen
Cover page of Jakob Ullmann’s score, voice, books and FIRE II/4, 1996–98, exhibited at documenta 14, Athens, 2017. Courtesy: the artist

What are the implications of documenta 14’s focus on the aural?

By Sam Thorne

Artist and singer Tori Wrånes articulates the weird interior of the self

By Anne Hilde Neset

Anicka Yi's work fuses biology with technology, finding new ways to talk about gender, race and economics. With an introduction to the work by Dan Fox and a short story by Joanna Ruocco

By Joanna Ruocco and Dan Fox

X-ray records in the Soviet Union

By Harry Thorne

In the face of China’s urbanization and widespread environmental degradation, the enduring influence of the country’s classical landscape tradition on its art

By En Liang Khong

Bárbara Wagner and Benjamin de Burca’s films probe economics, race and gender in Brazilian popular music

By Evan Moffitt
John Gerrard, Western Flag (Spindletop, Texas), 2017, installation view, Somerset House, London. Courtesy: Thomas Dane, London; photograph: Damian Griffiths

A digital portrait of the landscape that transformed our planet

By Ben Eastham

Q: What do you like the look of? A: Pears

By Kasper König

Guilt, humour and dislocation in Andy Holden's cartoon universe

By Darian Leader
Photography exhibition on Cuverville Island, part of the Antarctic Biennale, 2017. Courtesy: the Antarctic Biennale 

Enchantment and contradiction in the first Antarctic Biennale

By Dehlia Hannah