Issue 193
March 2018

On the eve of Tacita Dean's solo shows at London’s Royal Academy of Arts, National Gallery and National Portrait Gallery, Ben Eastham explores her new work and the ‘magic of film’; Ying Zhou looks at depictions of modern China in the work of Cui Jie; and an interview between Arthur Jafa and artist Jace Clayton opens up ‘black sites’ and the politics of filmmaking. Elsewhere in the magazine Negar Azimi reflects that Eileen Myles's new memoir of her dog has much to say about being human; and in an exclusive commission for frieze, artist Simon Starling photographs Giorgio Griffa’s studio in Turin.

From this issue

As protests roil the opening of New York's Museum of Chinese Art (MOCA), we revisit the role of artist-led activism in Chinatown

BY Audrea Lim |

Once dubbed ‘the world’s factory floor’, Shenzhen has re-invented itself as a centre of innovation 

BY Beatrice Leanza |

The Met Breuer, New York, USA

Hauser & Wirth, New York, USA

BY Rachel Wetzler |

The artist Simon Starling photographs Giorgio Griffa’s studio in Turin

BY Simon Starling AND Giorgio Griffa |

Why have women been written out of internet history?

BY Emily Segal |

Jace Clayton interviews Arthur Jafa about the politics of filmmaking, ‘black sites’ and learning how to surprise himself

BY Jace Clayton AND Arthur Jafa |

Eileen Myles’s new memoir of her dog has much to say about being human

BY Negar Azimi |

A series of ‘magical transformations’: Tacita Dean’s new work launches across three institutions in London

BY Ben Eastham |

Naeem Mohaiemen’s films reflect on recent histories of the global radical Left

BY Sarinah Masukor |

What accounts for the enduring appeal of Germany’s cult experimental author Hubert Fichte? 

BY Manfred Hermes |

What makes a commercial exhibition 'museum quality' 

BY Dan Fox |

How documentary filmmakers are experimenting with historical narratives to better understand the present

BY Jessica Loudis |

The limits of multidisciplinarity: from Adrian Piper to the 10th Berlin Biennale

BY Pablo Larios |

The intertwined imaginations of Anthony Powell and Nicolas Poussin

BY Olivia Laing |

Architecture, idealism and anachronism in the work of Cui Jie

BY Ying Zhou |

Learning to appreciate the laws of perspective

BY Dan Fox |

How do representations of sleep reflect contemporary culture?

BY Erik Morse |

Q: What should stay the same? A: ‘Nature, the earth.’

BY Chiharu Shiota |

Migros Museum, Zurich, Switzerland

BY Jörg Scheller |

greengrassi and Corvi-Mora, London, UK

BY Caroline Marciniak |

Various venues, New Orleans, USA

BY Evan Moffitt |

Aurel Scheibler, Berlin, Germany

BY Kito Nedo |

Whitney Museum of American Art, New York, USA

BY Andrew Durbin |

Instituto Tomie Ohtake and Galeria Nara Roesler, São Paulo

BY Tobi Maier |

Various venues, Paris, France

BY Violaine Boutet de Monvel |

Stevenson, Cape Town, South Africa

BY Sean O'Toole |

Guggenheim Bilbao, Spain

BY Lorena Muñoz-Alonso |

Duddell’s, Hong Kong

BY Hera Chan |

Various venues, Rome, Italy

BY Ana Vukadin |

Van Horn, Düsseldorf, Germany 

BY Moritz Scheper |

The Wattis Institute, San Francisco, USA

BY Matt Sussman |

Galerie Francesca Pia, Zurich, Switzerland 

BY Aoife Rosenmeyer |

Don Gallery, Shanghai, China

BY Maya Kramer |

Loyal Gallery, Stockholm, Sweden

BY Johan Deurell |

Turner Contemporary, Margate, UK

BY Gareth Harris |

Bielefelder Kunstverein, Germany

BY Harry Thorne |

Tanya Bonakdar Gallery, New York, USA

BY Jack McGrath |

Hollybush Gardens, London, UK

BY Sonya Dyer |

Various venues, New York, USA

BY Ian Bourland |

The Courtauld Gallery, London, UK

BY Daniel Culpan |

Fanta Spazio, Milan, Italy

BY Barbara Casavecchia |

La Loge, Brussels, Belgium

BY Ellen Mara De Wachter |

Lucas Hirsch, Dusseldorf, Germany

BY Mitch Speed |

Jack Shainman Gallery, New York, USA

BY Murtaza Vali |

MAK, Vienna, Austria

BY Orit Gat |

ShanghART, Shanghai, China

BY Arthur Solway |

Auto Italia, London, UK

BY Chris Fite-Wassilak |

De La Warr Pavilion, Bexhill-on-Sea, UK

BY Chris Sharratt |

Korean Cultural Centre, London, and Spike Island, Bristol, UK

BY Tim Smith-Laing |