frieze magazine

Issue 191

November - December 2017

Highlights include Acts of Recognition where David Geers considers the new wave of figurative painting in recent New York shows; a city report from Cape Town looking at both new institutions and grassroot art spaces, monographs on Johan Grimonprez and Studio Formafantasma and Ed Atkins; and Annette Kelm discusses the influences that have shaped her work.

Annette Kelm, Still Life with Spring, 2017, 80 × 120 cm. Courtesy: the artist, König Galerie, Berlin, and Andrew Kreps Gallery, New York

From early Vogue shoots and Hollywood’s golden era to domestic still lifes, the photographer reveals the images that have inspired her

By Annette Kelm
Harbour view of the Zeitz Museum of Contemporary Art Africa, 2017. Courtesy: Heatherwick Studio, London; photograph: Iwan Baan

With a host of new private museums opening in Cape Town, Sean O’Toole considers the impact on the local arts scene while Amie Soudien explores the city’s burgeoning grassroots art

By Amie Soudien and Sean O'Toole
Jean-Michel Basquiat, Untitled, 1982. Courtesy: Museum Boijmans Van Beuningen, Rotterdam, © The Estate of Jean-Michel Basquiat, licensed by Artestar, New York; photograph: Studio Tromp, Rotterdam

Barbican, London, UK

By Charlie Fox
Main image: Wang Gongxin, Unseatable, 1995, installation view at White Cube, Hong Kong, 2017. Metal chairs, flashing light and motor, each chair 48 x 49 x 83 cm. Courtesy: White Cube, Hong Kong

White Cube, Hong Kong

By Ingrid Chu

Galerie Conradi, Hamburg, Germany

By Mitch Speed
Alexandra Daisy Greenberg, Designing for the Sixth Extinction, 2013-5. Courtesy: New Tretyakov Gallery, Moscow 

New Tretyakov Gallery, Moscow, Russia

By Aliya Say
Moyra Davey, EM Copperheads, 2017, installation view at Galerie Buchholz, Cologne. 150 digital c-prints on fujicolor crystal archive paper, tape, postage, ink, each 31 x 46 cm, overall dimensions 2.7 x 7.6 m. Courtesy: the artist and Galerie Buchholz, Cologne/Berlin/New York

Galerie Buchholz, Cologne, Germany

By Moritz Scheper
Tom Burr, Brutalist Bathroom, 2017, installation view at Bortolami, New Haven. Powder coated steel guard rails, bathroom doors from Marcel Breuer's Armstrong Rubber Co building, direct-to-substrate print on aluminum, 207 x 633 x 305 cm. Courtesy: the artist and Bortolami, New York; photograph: © Jessica Smolinski

The Pirelli Building, New Haven, USA

By Evan Moffitt
Amar Kanwar, Such a Morning, 2017, video still. Digital video, colour, sound, 85 mins, single channel, looped, ed. of 6. Courtesy: the artist and Marian Goodman Gallery, New York, Paris and London.

Marian Goodman, London, UK

By Emilia Terracciano

Simon Preston Gallery, New York, USA

By Saul Anton
Minjung Kim, Red Mountain, 2016, watercolour on mulberry Hanji paper, 38 x 44cm. Courtesy: Gallery Hyundai, Seoul

Gallery Hyundai, Seoul, Korea

By Lorena Muñoz-Alonso
John Russell, 'DOGGO', 2017, installation view, Kunsthalle Zürich. Courtesy: Kunsthalle Zürich; photograph: © Annik Wetter

Kunsthalle Zürich, Switzerland

By Aoife Rosenmeyer