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.

The artist's layered, tender paintings consider the history of being seen and touched by black women

By Simone White

The artist restages and reconsiders the legacies of historical female intellectuals at Foskal Gallery Foundation, Warsaw

By Krzysztof Kościuczuk

At Casa Triângulo, São Paulo, a fully biodegradable installation highlights society’s wasteful patterns of consumption

By Camila Belchior

At Schiefe Zähne, Berlin, the artist creates an inventory of values we privately sustain but rarely admit

By Pablo Larios

The Triforium – Los Angeles’s weirdest and most reviled public artwork – awakes from a long slumber

By Evan Moffitt

In her current solo show at Kunsthalle Zurich, the artist's sculptures propose new manners of dwelling and co-existence

By Laura McLean-Ferris

Q: What should stay the same? A:‘The North Pole.’

By Jose Dávila

'Frontier' at OCAT, Shanghai traces contemporary Chinese art's geopolitical concerns and the new complexities of living in a cosmopolitan world

By Alvin Li

The artist brings systems of exclusion and exploitation to light at Apalazzo Gallery, Brescia

By Barbara Casavecchia

Bétonsalon & Fondation d'enterprise Ricard, Paris, France

By Amy Sherlock

Lynne Tillman on Paul Thomas Anderson's Phantom Thread, a tightly wrought film about a tightly controlled man

By Lynne Tillman

Artists from the Baltic region navigate volatile pasts and precarious presents at Kiasma, Helsinki

By Harry Thorne