frieze magazine

Issue 197

September 2018

Featuring: Wayétu Moore responds to the extraordinary life of Charles White in the form of a specially-commissioned short story; Media Farzin delves into the historical investigations of Jumana Manna; an artist project by Polish photographer Joanna Piotrowska; plus, Susanne von Falkenhausen on how international art festivals are engaging in contemporary politics, Hettie Judah on three artists whose work straddles the gap between the figurative and the abstract, Mika Rottenberg answers our questionnaire, and much more

Indecency surrounds us, we must not look away

By Olivia Laing

The Beijing-based artist’s films draw on the emotional strategies of pop culture to explore identity and belonging in a hyper-mediatized world

By Alvin Li

In a quiet mountain town in Trentino, Italy, the duo Brave New Alps is providing skills and support to precarious migrant communities

By Alice Rawsthorn

From ‘Sesame Street’ to Barbara Kopple’s Harlan County USA, the Glasgow-based artist recalls the TV and films that have influenced her

By Margaret Salmon

In her first Vienna solo, the artist blends understated textures, austere tones and bold gestures to a satisfying, yet elusive, effect

By Max L. Feldman

Disputes about city architecture and historical revisionism are raging, but political lines are not always so clear

By Oliver Elser

A retrospective at Munich’s Museum Brandhorst charts the artist’s career from the 1980s to the present, from ‘fem-trash’ figures to abstract forms

By Daniela Stöppel

At Schloss, Oslo – located in a former Porsche workshop – car windows becomes canvases for mystical scenes of origins and afterlives

By Timotheus Vermeulen

A beautifully spare presentation at Lomex, New York, uses a tangle of haberdashery-esque materials to invoke transcedent scenes

By Rahel Aima

The Cherokee/Choctaw artist explores the contemporary possibilities of Indigenous art at Denver Art Museum

By Christopher Green

At Berlin’s Zilberman Gallery, reflections on the power asserted by technological progress: can anyone make it stop?

By Hili Perlson

On show at WIELS, Brussels, the artist's textiles are modes of conscious reparation, through which damage and disrepair become precious artefacts

By Ellen Mara De Wachter