frieze magazine

Issue 200

January - February 2019

The 200th issue of frieze is devoted to enthusiasm. Two hundred of our favourite artists and writers pay tribute to their inspirations since 1991, the year frieze magazine was launched.

Divided into three decades, the issue features fan letters and visual responses to subjects as diverse as the JPEG, George Michael, the Large Hadron Collider, Steve McQueen’s films, Song Dong’s Waste Not and the linguistic abilities of a male bonobo. It includes contributions from Olivia Laing, Chris Kraus, David Shrigley, Marina Warner and more.

Plus, 30 rave reviews from around the world, including reports on Louise Bourgeois’s show at Shanghai’s Long Museum and Enrico David’s at the Museum of Contemporary Art Chicago.

‘It was a piece of long-term thinking that put aside political expediency for the future benefit of citizens’

By Amanda Levete

‘Hollis’s great skill is to reconcile frugality with generosity’

By Emily King

‘I keep returning to the work – even as it changes’ 

By Dawn Adès

‘The bold, deep, shoulder-shaking beats of the new-jack sound era’

By Ismail Einashe

An exhibition at Regen Projects, Los Angeles, sheds new light on colonialist patterns and projections 

By Jonathan Griffin

For her exhibition at Sprüth Magers, Berlin, the artist explores the potential of indefinite loops

By Grace Sparapani

‘My sense was that a shift had happened in what is only now called fashion exhibition-making’

By Judith Clark

‘Chadwick relished combining provocative and problematic materials in order to probe the body and its boundaries’

By Louisa Buck

‘Jones co-opts the male-on-male objectifying gaze of gay erotica and converts it to a female-on-female gaze’

By Dodie Bellamy

‘It encourages you to ponder its exalted lineage while taking the piss out of you for doing so’

By Caoimhín Mac Giolla Léith
Chantal Akerman, No Home Movie, 2015. Courtesy: Icarus Films

‘Each hypnotic frame of No Home Movie lasts just long enough to allow our minds to wander, summoning recollections of&nb

By Hedi El Kholti

‘Tang’s action took place at a time when performance art was outlawed by the Singaporean authorities’

By Eugene Tan