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frieze magazine

Issue 200

January - February 2019

The 200th issue of frieze is devoted to enthusiasm. Two hundred of our favourite artists and writers pay tribute to their inspirations since 1991, the year frieze magazine was launched.

Divided into three decades, the issue features fan letters and visual responses to subjects as diverse as the JPEG, George Michael, the Large Hadron Collider, Steve McQueen’s films, Song Dong’s Waste Not and the linguistic abilities of a male bonobo. It includes contributions from Olivia Laing, Chris Kraus, David Shrigley, Marina Warner and more.

Plus, 30 rave reviews from around the world, including reports on Louise Bourgeois’s show at Shanghai’s Long Museum and Enrico David’s at the Museum of Contemporary Art Chicago.

‘I have always chosen to listen to my heart and stick to my convictions, rather than yielding to reality’

By Zeng Fanzhi

‘I felt as though I’d walked in on what the future of art-making could be: a curation of time and space between us and the world in which we exist’

By Rirkrit Tiravanija

‘When I read that essay, I literally feel some kind of space opening up: I can breathe’

By Beatrice Gibson

‘It’s a tenacious act of enthusiasm within Europe’s changing political landscape’

By Krzysztof Kościuczuk

‘I would like to dedicate this tribute to all of Zidane’s fans (of whom I am one)’

By Violaine Boutet de Monvel

‘Never before has a document of an event given such a vivid sense of what things may look like after we are gone’

By Ned Beauman
Wangechi Mutu,  Response to Yoko Ono's Cut Piece, 2018. Commissioned for the 200th Issue of Frieze, Courtesy: the artist 

The artist creates a specially commissioned work for frieze in response to Yoko Ono’s legendary 1965 performance ‘Cut Piece’

By Wangechi Mutu

‘These are photographs in which moments – and lives – are constantly moving from then to now, bodies finding echoes in the world around them’

By Caroline Marciniak

Enemy Kitchen makes Iraqi culture visible in the US beyond war, producing an alternative discourse and social space.’

By Michael Rakowitz

‘This is the passing of time visualized through a contrapuntal freezing of it’

By Harry Thorne

‘Every Wednesday, we would drink and watch Italian masterpieces – Fellini, Pasolini, Visconti – without subtitles’

By Sohrab Mohebbi

‘Burdekin was a feminist, speculative, dystopian writer of essential texts’

By Dominique Gonzalez-Foerster