Janiva Ellis, Catchphrase Coping Mechanism, 2019, oil on linen, 2.2 x 1.8 m. Courtesy: the artist and 47 Canal, New York; photograph: Joerg Lohse

frieze magazine

Issue 203

May 2019

frieze editor Andrew Durbin delves into cover artist Janiva Ellis’s ruptured figurative paintings; Sarah Manguso contemplates the work of Vija Celmins and the art of reckoning with silence; Ben Mauk unpacks the work of Natascha Süder Happelmann and the problem of representation in large-scale exhibitions; queer cyberfeminist Shu Lea Cheang speaks to artist Zach Blas about surveillance, control and the pleasures of the panopticon; and Tony Cokes recodes Kodwo Eshun’s memorial lecture for Mark Fisher for the issue’s visual essay.

Plus, 29 reviews from around the world, including reports from four non-profit spaces in London and Gretchen Bender’s first posthumous retrospective at Red Bull Arts New York.

Cover image: Janiva Ellis, Catchphrase Coping Mechanism, 2019, oil on linen, 2.2 x 1.8 m. Courtesy: the artist and 47 Canal, New York; photograph: Joerg Lohse

How archival collections are being re-animated via new technologies

By Ellen Mara De Wachter

After years in the critical wilderness, Pattern and Decoration, the first postmodern art movement, is being reassessed by a number of exhibitions in Europe and the US 

By Amy Sherlock

The boom in cinema magazines dedicated to print

By Erika Balsom
Rahime, Kurdish Woman from Turkey (detail), 1979, photographs, pencil, coloured pencil, paint and mixed media on cardboard, dimensions variable. Courtesy: the artist and Vehbi Koç Foundation Contemporary Art Collection, Istanbul; photograph: Hadiye Cangök

The artist takes us through her multi-faceted practice, now on view in her retrospective at Museum Ludwig, Cologne 

By Övül Ö. Durmuşoğlu
Florian Henckel von Donnersmarck, Never Look Away, 2018. Courtesy: © Buena Vista

Online feuds, real lives and artistic licence

By Jörg Heiser

Q: What do you like the look of? A: A clear bright sky in the morning

By Ralph Rugoff

In a solo exhibition at kurimanzutto, Mexico City, the artist’s hanging sculptures are, like human beings, contingent, needy and ever-changing

By Kit Schluter

Concurrent exhibitions at mother’s tankstation in Dublin and London are the product of more than 40 years of patiently observing the surrounding world

By Gemma Tipton

On the emergence of transgender literature

By Juliet Jacques

At Moscow’s Garage Museum of Contemporary Art, the Karachi-born artist’s first solo exhibition in Russia sees Western modernisms turned against themselves

By Figgy Guyver

The artist depicts the archetypal women of the golden age of film – or reveals them through their absence

By Moritz Scheper

At Berlin’s Galerie Neu, a small triumph for nightlife anti-hero Daniel Pflumm, his first show at the gallery in 15 years

By Pablo Larios