frieze magazine

Issue 206

October 2019

‘We are no longer confined to providing the entertainment between trays of finger food at openings. Performance has become a perfectly normal modus operandi.’ – Pablo Bronstein

The October issue of frieze leads with a special portfolio on the state of performance art. What makes it so compelling as an artistic medium? Featuring: Yve Laris Cohen, Geumhyung Jeong, Marija Bozinovska Jones, Nástio Mosquito, Robertas Narkus, Alessandro Sciarroni, Nora Turato, Lee Wen and more.

Also featuring: Hilton Als on domination, revenge and longing in the films of Kara Walker; Glasgow-based artist and filmmaker, Luke Fowler, on his formative experiences, from the BBC to Patrick Cowley; Jennifer Kabat getting jazzed by the candid prose of dance critic Jill Johnston; Collier Schorr learning to dance in a specially-commissioned visual essay; Sean O’Toole sparring with language through the writings of William Kentridge; and Hendrik Folkerts on Dale Harding’s potent reflections of Australia.

Plus, 35 reviews from around the world, including Paula Rego’s major retrospective at MK Gallery, Milton Keynes, and curator Susanne Pfeffer’s game-changing show, ‘Museum’, at the Museum für Moderne Kunst in Frankfurt. And answering our questionnaire is avant-garde polymath Meredith Monk, whose masterwork, Quarry: An Opera in Three Movements (1976) was restored and screened at Anthology Film Archives, New York, earlier this year.

Cover image: Collier Schorr, Photographer as a Portrait, 2019, photograph. Courtesy: the artist, 303 Gallery, New York, and Stuart Shave/ Modern Art, London

Some thoughts on transience, in art and life

By Jennifer Higgie

‘Kara Walker reinvents painting and drawing’s conventions, while talking about ideas that are epic in scale and deep in blood,’ Als writes

By Hilton Als

As the artist’s largest survey to date opens at Zeitz MoCAA and Norval Foundation, Cape Town, Sean O’Toole examines his dadaist lexicon 

By Sean O’Toole

‘People younger than myself will be under the false impression that performance has always been taken seriously’

By Pablo Bronstein

Karen Archey on Ligia Lewis and Alex Baczynski-Jenkins

By Karen Archey

In a special photo essay, the artist places her body ‘in the line of danger, admiration, rejection, description’

By Collier Schorr

The artist’s physically gruelling performances reflect on the black body and the possibilities of resurrection

By Evan Moffitt

The restless, rageful ‘No Home Record’ lures as much as it discomfits

By Hermione Hoby

Performed images in contemporary art and everyday life

By Isobel Harbison

The Singaporean artist’s provocative performances constantly challenged power and prejudice

By Wenny Teo

Fabian Schöneich on the artist’s new performance at Kunsthalle Basel

By Fabian Schöneich

Should we be enjoying ourselves as the world goes to hell in a handcart?

By Jörg Heiser