Venice Biennale

In further news: LA MoCA’s free admission starts in January 2020; Manchester Museum returns sacred Aboriginal artefacts

By Frieze News Desk

There is a place for evidentiary art – but not for Kenneth Goldsmith’s print-out of 62,000 pages of the former US Secretary of State’s correspondence

By Travis Diehl

In further news: David Adjaye tipped to design Nigerian museum for looted Benin treasures; Hillary Clinton reads her emails in Venice

By Frieze News Desk

What the frieze editors have been reading this week

By frieze

What the frieze editors have been reading this week

By frieze

The Golden Lion-winning Lithuanian Pavilion, ‘Sun & Sea (Marina)’, crafts an endless pop song for the end times

By En Liang Khong

Crisis at home has postponed the country’s presentation just days ahead of the Biennale’s public opening

By Frieze News Desk

In Ralph Rugoff’s exhibition ‘May You Live in Interesting Times’, disorientation is the order of the day

By Jennifer Higgie

Structures by Modernist masters including Carlo Scarpa offer an alternative to the city’s medieval streets and Gothic churches

By Frieze News Desk

Four years after converting a church into a mosque, the Swiss-Icelandic artist is once again courting controversy in Venice

By Frieze News Desk
Natascha Süder Happelmann (right) and her spokeswoman Helene Duldung (left), in front of the Federal Foreign Office, Berlin, 2018. Photograph: Jasper Kettner

Can Natascha Süder Happelmann succeed in doing away with national ‘representation’ altogether?

By Ben Mauk
Martin Puryear, Big Bling, 2016. Courtesy: © Martin Puryear, Matthew Marks Gallery, New York; photograph: Yasunori Matsui

The artist represents the US at this year’s Venice Biennale

By Ian Bourland