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frieze magazine

Issue 195

May 2018

The May issue of frieze features a visual essay by Heji Shin; a series of open letters to Adrian Piper; an interview with Maria Hassabi; David Salle's fan letter in praise of George W.S. Trow’s prescient commentary on American culture; and monographs on Ruth Asawa, Than Hussein Clark and Madeline Gins.

An exhibition at CAMERA, Turin, illustrates photography's key role for the enigmatic polymath 

By Matthew McLean

How the late artist's transparent sculpture rethinks the relationship between figure and ground

By Ann Reynolds

An exhibition of the work of the late Madeline Gins reveals an artist, architect and poet who pushed language into intensely imaginative and specul

By Lucy Ives

With his new book How to Write an Autobiographical Novel published today, the writer shares the books that have influenced him

By Alexander Chee

Jan Verwoert considers the history of Manifesta, European politics and whether an art exhibition can unlock the historical potential of a place

By Jan Verwoert

The renowned Swiss architect and designer duo discuss the influences that have shaped their six-decade careers 

By Trix and Robert Haussmann

Before ‘fake news’ and the turn against Facebook, painter David Salle remembers a book that predicted how the media sphere would shatter

By David Salle

Ahead of her presentation at Centre Pompidou in June, the artist and choreographer talks about slowness, detail and the anti-spectacular

By Harry Thorne

Transforming M HKA Antwerp's IN SITU space into a megaphone that captures sounds – imagined or real – flowing from the city to the museum

By Kate Christina Mayne

At Petzel Gallery, New York, an installation of anthropomorphic sea creatures explores sinister forces of authority and violence

By Andrew Durbin

At carlier | gebauer, Berlin, the artist explores where the boundary blurs between violence and security in public spaces

By Kristian Vistrup Madsen

At the Museum of Contemporary Art Chicago, a comprehensive look at five decades of the artist's incisive, yet uplifting, practice

By Natalie Haddad