frieze magazine

Issue 198

October 2018

Viviane Sassen pays homage to Lee Miller in a specially commissioned visual essay; Tavia Nyong’o unpacks the identity politics behind Luke Willis Thompson’s latest video; and Osei Bonsu talks to the legendary sculptor and performance artist Senga Nengudi about race, representation and the liberating qualities of nylon hosiery.

Plus, 37 exhibition reviews from 30 cities, including reports on David Wojnarowicz at New York’s Whitney Museum and ‘Hello World’ at Berlin’s Hamburger Bahnhof. Answering our questionnaire is Martha Rosler, whose retrospective at New York’s Jewish Museum opens in November.

An exhibition at House of Gaga / Reena Spaulings Fine Art, Los Angeles shows cyborgian sculptures that are combos of mechanics and organic matter

By Travis Diehl

Poet CAConrad looks at the ways in which the artist addresses the corrosive role of empire in our daily lives

By CAConrad

What does a picture tell? Not one story 

By Lynne Tillman

To celebrate the publication of Neil Tennant's collected lyrics, Michael Bracewell pays homage to the pop group 

By Michael Bracewell

A concise retrospective at König London explores the transition of the artist’s paintings and extends her short-lived career into the present

By Mimi Chu

From Budapest to Liverpool, a resurgent far-right poses a great threat to cultural freedom

By En Liang Khong

The artist explores the influence of myths and tales on present-day Georgia at Bundeskunsthalle, Bonn

By Noemi Smolik

At TG, Nottingham, a selection of photographs from the late 1990s raises questions about self-portrayal in a time before Instagram 

By Amy Sherlock

A collaborative exhibition at the Baltimore Museum of Art and Art + Practice, Los Angeles, explores the lesser-known ephemeral works of the sculptor

By Ian Bourland

At the end of July, the footballer announced his resignation from the German national football team – why?

By Jörg Heiser

An exhibiton at Hessel Museum of Art, Annandale-on-Hudson, is dedicated to two of New York’s most influential galleries of the 1980s

By Chris Wiley

Julia Scher’s disconcerting 1991 immersive installation which surveilles its visitors is rebooted - and upgraded - at DREI, Cologne

By Stanton Taylor