Chloe Stead

The artist’s latest film at Galerie Molitor, Berlin, captures a historic Spanish festival where villagers hurl vegetables at a devil

From novels to art books to poetry, the frieze team shares the new releases they’re most excited to read

Resident Rosanna Dean on why Hackney Council should do more to support the arts

Berlin-based curator Emma Enderby on her inaugural programme, budget cuts and tarot card readings

From a long overdue retrospective of Chantal Akerman to a group show celebrating the centenary of the Surrealist Manifesto

From dynamic performance and moving image to several major biennials, four frieze editors discuss the year in art

Other highlights include a dance piece based on a cannibalistic tribal community and a novel coming-of-age story

Members of the collective What, How and For Whom/WHW on public art, Kasper König’s legacy and the safeguarding of artistic freedoms

Major surveys at the Serpentine Galleries, London, and the LUMA Foundation, Arles, celebrate the artist's enduring dedication to feminist practice and social justice

Other highlights include an epistolary novel by Hannah Regel and the indie horror film 'I Saw the TV Glow'

The all-women programme ‘What if Women Ruled the World’ addresses gaps in the art historical canon

We revisit the artist’s ‘Great White Fear’ series, featuring phallic shark paintings, to evaluate its enduring message

Despite a vague curatorial approach, ‘After Rain’ offers visitors and locals alike a chance to reflect on the Kingdom’s big plans for the region

A textile- and painting-heavy edition of the Venice Biennale follows a tried and tested method of curation

At Selma Feriani, Tunis, the artist uses the ruins of the ancient city of Carthage to find connections between the past and the present

Other highlights include Calla Henkel’s second novel and an awards season film podcast by Vanity Fair

The Greek documentarian on trust, Adam Szymczyk and looking beyond the media scandal 

The unfazed female figures in the artist’s ‘Hotel Paintings’ may be viewed as a playful act of self-satire

At The George Economou Collection, Athens, the artist’s approach to death and dying is refreshingly unsentimental

From a biennale in three neighbouring Kosovar cities to the relaunch of an institution in Berlin featuring two days of blessings, performances, readings and rituals