Frieze

Frieze is a contemporary art magazine, published eight times a year. It was founded in London in 1991 and is renowned for publishing essays, profiles, interviews and reviews by today’s leading writers, artists and curators. Across all platforms and live events frieze elevates the provocative, brilliant and leading voices who shape and challenge today’s art world.

CONTRIBUTORS

Editor's Letter

Frieze

Kim Gordon • To Do: What's on the agenda of the art world's most booked and busy?

Stargazer • One Take: On the occasion of Betye Saar's new public commission at Huntington Museum in Los Angeles, Stephanie Seidel looks back at the artist's shapeshifting Celestial Universe (1988)

Notes on Tricks • Sleight of Hand: The Hollywood Magic Castle's greatest ruse is resisting its own documentation by Christina Catherine Martinez

Occupy São Paulo • Sleight of Hand: Aparelhamento speaks to how opening galleries protects Brazil's housing access

Mourning and Magic • Sleight of Hand: Hayao Miyazaki's The Boy and the Heron indulges nostalgia to unravel myths of his own making by Franklin Melendez

Papercut Dreamworlds • Sleight of Hand: How Xiyadie conjures queer futures on paper by Lisa Yin Zhang

Behind the Curtain • Sleight of Hand: Kate Mosher Hall works between the seen and unseen Interview by Juliana Halpert

Features

‘I'm interested in form and structure: I love to work between the cracks and try to open things up and find new forms.' • Conversation: As Meredith Monk celebrates six decades of making art with a two-part retrospective at Munich's Haus Der Kunst and Amsterdam's Oude Kerk, the artist speaks with composer Marina Rosenfeld on the power of sound in space

Ellen Gallagher • Profile: On the occasion of Ellen Gallagher's solo exhibition at Stedelijk Museum in Amsterdam, Edna Bonhomme visits the aesthetically versatile artist at her Rotterdam studio

Flying Through Space Forever • For ‘Women in Revolt!’, Tate Britain has raised Rose Finn-Kelcey's flag, Here Is a Gale Warning (1971), from its roof. Here, Goshka Macuga reflects on how the artist remains a potent influence on her own work

LOVE LETTERS to LA

Go Figure • Essay: John-Baptiste Oduor analyses the politics of producing, exhibiting and critiquing Black figurative art

Asia Pacific

Europe

Americas

Reviews

Sahjan Kooner • Eastside Projects, Birmingham, UK

Tenant of Culture • Soft Opening, London, UK

Benoît Pieron • Chisenhale Gallery, London, UK

Yinka Shonibare • Stephen Friedman Gallery, London, UK

Marianne Keating • The Showroom, London, UK

Sheila Hicks • Alison Jacques, London, UK

Richard Prince • Gagosian, London, UK

Elif Saydam • Oakville Galleries in Gairloch Gardens, Canada

Njideka Akunyili Crosby • David Zwirner, New York, USA

Candice Lin • Canal Projects, New York, USA

Ligia Lewis

Tetsuya Ishida • Gagosian, New York, USA

Moveables • Institute of Contemporary Art, Philadelphia, USA

Sable Elyse Smith • Regen Projects, Los Angeles, USA

Made in L.A. • Hammer Museum, Los Angeles, USA

Damián Ortega • The Museum of Contemporary Art of Monterrey, Mexico

Maria Hassabi • Tai Kwun, Hong Kong

Suki Seokyeong Kang • Leeum Museum of Art, Seoul, South Korea

Shilpa Gupta • Amant, New York, USA

Memory Is the Seamstress • Green Art Gallery, Dubai, UAE

Kadara Enyeasi • The Treehouse Lagos, Nigeria

Back Stages • Anca Poterasu Gallery, Bucharest, Romania

Temitayo Ogunbiyi • Museum Tinguely, Basel,...