Ed Atkins

The artist and poet speak to frieze about staging the domestic intimacies of the pandemic and post-pandemic worlds

From Marina Abramović to extinct tropical birds, seeing more than what’s there

At Haus der Kunst, Munich, artists including Ed Atkins and Otobong Nkanga explore compliance and resistance in an era of wild digitalization

From the exhibitions attempting to formulate ‘an acerbic language that speaks to our present epoch’, curator Samuel Leuenberger's highlights

Helen Marten responds to Ed Atkins’s new work, Old Food, currently showing at Martin-Gropius-Bau, Berlin

Charlie Fox traces the recurring appearance of the mask in art

Cal Revely-Calder wins the 2017 prize for his review of Dom Sylvester Houédard's exhibition 'Typestracts'

This year’s prize, judged by Ed Atkins, Chris Kraus and Pablo Larios, is now open for entries

The first of our 2016 highlights series features Marianna Simnett, Stranger Things, and a trio of the year's best 'freak moments'

Ed Atkins, Carol Rama, Wael Shawky, and more: this week's must see shows and events

To celebrate frieze’s quarter century, the editors choose 25 key artworks: one for each year of the magazine’s existence

The collector, primarily of digital and time-based art, explains why she is opening a space in Berlin

The difference between ‘what if’ and ‘as if’ scenarios, and what contemporary art has to do with it

Abjection has gained renewed currency as art looks to the body and states of digital and physical decay

dépendance, Brussels, Belgium

Nightmarish virtual environments populated by avatars of white men plagued by sorrow and desire at dépendance, Brussels

19 artists write about a work of art that influenced them

A conversation between Ed Atkins and Matthew De Abaitua about the intertwining of art and technology

Dan Fox invited eight artists and artist groups to reflect on their relationships to curators and curatorial discourse

In recent years, artists in the UK have increasingly turned to narrative cinema and mainstream TV, a shift that has coincided with a renewed interest in the video and new-media practices of the 1970s and ’80s. How does this relate to issues of funding, ideology, duration and display? A round-table discussion with artists Ed Atkins, Melanie Gilligan, Anja Kirschner and Ben Rivers