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.

From this issue

Johan Grimonprez’s recent films explore the mechanisms of the arms trade

BY Evan Calder Williams |

Helen Marten responds to Ed Atkins’s new work, Old Food, currently showing at Martin-Gropius-Bau, Berlin

BY Helen Marten |

From the new issue of frieze: Changes in urban cultures and queer aesthetics across the Sinosphere 

BY Francesca Tarocco |

The Renaissance Society, Chicago, USA

BY Jennifer Piejko |

A new wave of figurative painting in recent New York exhibitions prompts critical questions about which bodies we depict, for whom and to what end

BY David Geers |

The London Sinfonietta celebrates 50 years of supporting and performing new music

BY Andrew Mellor |

Our complex relationship to the world's oceans 

BY Amy Sherlock |

In praise of the inventive brilliance of the late Guy Davenport 

BY Pablo Larios |

Q: What do you wish you knew? A: ‘Why I find vacuuming the house so oddly gratifying.’

BY William Forsythe |

Blast Theory, Forced Entertainment and Slavs and Tatars: collectives fusing theatre, art, performance and politics to create interactive experiences

BY Nick Thurston |

Alice Rawsthorn on the Italian design duo’s response to ecological and political concerns

BY Alice Rawsthorn |

KOW, Berlin, Germany 

BY Pablo Larios |

Various venues, Berlin, Germany 

BY Fiona McGovern |

What does the new music genre 'necropolo' reveal about Poland's current political situation? 

BY Krzysztof Kościuczuk |

Jan Mot, Brussels, Belgium 

BY Laura Herman |

The New Art Gallery, Walsall, UK 

BY Sara Makari-Aghdam |

The Tetley, Leeds, UK 

BY Tom Emery |

Virginie Despentes's trilogy, 'Vernon Subutex', and the revival of state-of-the-nation novels 

BY Ben Eastham |

The Commercial, Sydney, Australia 

BY Chloé Wolifson |

Éric Baudelaire's thoughtful response to the attacks on the French capital

BY Negar Azimi |

Künstlerhaus Stuttgart, Germany

BY Bert Rebhandl |

Philip Guston's 'Klan' paintings are more relevant than ever

BY Olivia Laing |

What live-action role play can teach us about artistic participation 

BY Elvia Wilk |

Lomex, New York, USA 

BY David Everitt Howe |

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 |

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 arts spaces

BY Amie Soudien AND Sean O'Toole |

Barbican, London, UK

BY Charlie Fox |

White Cube, Hong Kong

BY Ingrid Chu |

Galerie Conradi, Hamburg, Germany

BY Mitch Speed |

New Tretyakov Gallery, Moscow, Russia

BY Aliya Say |

Galerie Buchholz, Cologne, Germany

BY Moritz Scheper |

The Pirelli Building, New Haven, USA

BY Evan Moffitt |

Marian Goodman, London, UK

BY Emilia Terracciano |

Simon Preston Gallery, New York, USA

BY Saul Anton |

Gallery Hyundai, Seoul, Korea

BY Lorena Muñoz-Alonso |

Kunsthalle Zürich, Switzerland

BY Aoife Rosenmeyer |

Commonwealth and Council, Los Angeles, USA

BY Simone Krug |

Mary Mary, Glasgow, UK

BY Chris Sharratt |

galerie frank elbaz, Paris, France

BY Tom Jeffreys |

Various venues, Folkestone, UK

BY Sarah E. James |

Museo Tamayo, Mexico City, Mexico 

BY Aliya Say |

Victoria Miro, London, UK

BY Harriet Baker |

Moderna Museet, Stockholm, Sweden

BY Johan Deurell |

The Jewish Museum, New York, USA

BY Jack McGrath |

Stills Gallery, Edinburgh, UK

BY Hettie Judah |

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 |