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frieze magazine

Issue 191

November - December 2017

Highlights include Acts of Recognition where David Geers considers the new wave of figurative painting in recent New York shows; a city report from Cape Town looking at both new institutions and grassroot art spaces, monographs on Johan Grimonprez and Studio Formafantasma and Ed Atkins; and Annette Kelm discusses the influences that have shaped her work.

Johan Grimonprez, Shadow World, 2016, film still. Courtesy: the artist, Sean Kelly Gallery, New York, Galerie Kamel Mennour, Paris, Flatland Gallery, Amsterdam, Ronald Reagan Presidential Library, Simi Valley, Louverture Films, Dillywood and Shadow World inc., New York

Johan Grimonprez’s recent films explore the mechanisms of the arms trade

By Evan Calder Williams
Old Food, 2017, production still. Courtesy: the artist, Galerie Isabella Bortolozzi, Berlin, Cabinet Gallery, London, Gavin Brown’s Enterprise, New York and Rome, and dépendance, Brussels

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

By Helen Marten
Wong Kar-wai, Happy Together, 1997, film still. Courtesy: the artist and Alamy 

From the new issue of frieze: Changes in urban cultures and queer aesthetics across the Sinosphere 

By Francesca Tarocco
Jennifer Packer, 'Tenderheaded', 2017, exhibition view, The Renaissance Society, Chicago. Courtesy: The Renaissance Society, Chicago

The Renaissance Society, Chicago, USA

By Jennifer Piejko
Celeste Dupuy-Spencer, Durham, August 14, 2017, 2017, oil on canvas, 71 × 89 cm. Courtesy: the artist and Marlborough Contemporary, London and New York

A new wave of figurative painting in recent New York exhibitions prompts critical questions about which bodies we depict, for whom and to what end

By David Geers

The London Sinfonietta celebrates 50 years of supporting and performing new music

By Andrew Mellor
Illustration by Lauren Rolwing

Our complex relationship to the world's oceans 

By Amy Sherlock

In praise of the inventive brilliance of the late Guy Davenport 

By Pablo Larios
Untitled, 2017. Courtesy and photograph: William Forsythe

Q: What do you wish you knew? A: ‘Why I find vacuuming the house so oddly gratifying.’

By William Forsythe
Critical Art Ensemble, Radiation Burn: A Temporary Monument to Public Safety, 2010, performance documentation. Courtesy: the artists

Blast Theory, Forced Entertainment and Slavs and Tatars: collectives fusing theatre, art, performance and politics to create interactive experience

By Nick Thurston
Studio Formafantasma, Ore Streams, 2017, video still. Courtesy: the designers and National Gallery of Victoria, Melbourne

Alice Rawsthorn on the Italian design duo’s response to ecological and political concerns

By Alice Rawsthorn

KOW, Berlin, Germany 

By Pablo Larios