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.

Lyon, France

By Jonathan P. Watts
Sonia Leimer, Encounters, 2017, installation view. Courtesy: the artist and Commonwealth and Council; photographer: Ruben Diaz

Commonwealth and Council, Los Angeles, USA

By Simone Krug
Sara Barker, Double son of rubble, 2017, automotive paint, folded aluminium, stainless steel & brass rod, perspex, 2.0m x 2.9m x 57cm. Courtesy: the artist and Mary Mary Glasgow; photograph: Max Slaven

Mary Mary, Glasgow, UK

By Chris Sharratt

galerie frank elbaz, Paris, France

By Tom Jeffreys

Various venues, Folkestone, UK

By Sarah James
Wilson Diaz, ‘Quimera’, 2017, installation view, Tamayo Museum, Mexico City. Courtesy: Tamayo Museum, Mexico City; photograph: © Agustin Garza

Museo Tamayo, Mexico City, Mexico 

By Aliya Say
Hernan Bas, Suicide Sunday (taking on water), 2017. Acrylic on linen, 1.5 x 1.8 m. Courtesy: the artist and Victoria Miro, London

Victoria Miro, London, UK

By Harriet Baker
Marie-Louise Ekman, 2017, installation view, Moderna Museet. Courtesy: Moderna Museet, Stockholm and Bildupphovsrätt; photograph: 

© Åsa Lundén/Moderna Museet

Moderna Museet, Stockholm, Sweden

By Johan Deurell
Florine Stettheimer, Beauty Contest: To the Memory of P.T. Barnum, 1924, oil on canvas, 1.2 x 1.5 m. Courtesy: Wadsworth Athenaeum Museum of Art, Hartford, Connecticut and Ettie Stettheimer

The Jewish Museum, New York, USA

By Jack McGrath
Kate Davis, ‘Nudes Never Wear Glasses’, 2017, installation view, Stills Gallery, Edinburgh. Courtesy: Stills Gallery, Edinburgh

Stills Gallery, Edinburgh, UK

By Hettie Judah
Aleksandra Mir, Communication is a Basic Human Need, 2017. Courtesy: © Aleksandra Mir and Tate Liverpool, Liverpool

Modern Art Oxford and Tate Liverpool, UK

By Laura Robertson

Fifty years after the term was coined, a show in Samos reflects on ‘the unlikely liaison between love and politics’

By Jennifer Higgie