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frieze magazine

Issue 194

April 2018

In the new edition of frieze considers surface tenderness and utopian love in the paintings of Njideka Akunyili Crosby. We ask, is the story of ‘civilisation’ inevitably defined by violence and fear, and how can a public artwork respond to state histories of theft and suppression? We also look at Paris’s new museum-as-machine, Los Angeles’s recently restored public musical sculpture and the revival of interest in surrealism. Featuring Mark Cousins, Mary Reid Kelley & Patrick Kelley, Michael Rakowitz and Pan Yuliang.

Three leading artists explore the complex notion of a multi-ethnic national identity in post-globalization China

By Colin Chinnery

Under a metahistorical guise, the filmmaking duo enact hidden tyrannies of the contemporary age

By Harry Thorne

The filmmaker and writer on the novelists, musicians and directors – from Egon Schiele to Virginia Woolf – who have shaped his thinking

By Mark Cousins

With his fourth plinth commission unveiled in London, the artist talks archaeological magic tricks and Saddam Hussein’s obsession with Star Wars

By Evan Moffitt

A brief look at arts funding, the future of museums, and the dangers of efficiency

By Paul Teasdale

Critiquing the dominance of the white imperial gaze at Ryerson Image Centre, Toronto

By Jill Glessing

Sam Thorne on the abundance of artists creating clouds, or works that cloud our vision 

By Sam Thorne

Andrew Durbin on Some Trick, an experimental collection steeped in the author's knowledge of classics and mathematics

By Andrew Durbin

Jörg Heiser on the Soviet sci-fi classic Planeta Pur, algorithmic bias and the limits of artificial intelligence

By Jörg Heiser

Madeleine Thien takes a look at a celebrated painter who merged Western composition with Chinese brush-and-ink style

By Madeleine Thien

Surreal currents, charged objects and deformed bodies in the work of four emerging British painters

By Matthew McLean

From Better Things to Motherhood and SMILF: Michelle Orange charts the turn towards nuanced representations of women in

By Michelle Orange