frieze magazine

Issue 202

April 2019

Simone Fattal talks to Negar Azimi about her archaeological and formal explorations in collage, paint and sculpture; Pablo Larios investigates how the Bauhaus is being decentred from the Western canon; Cal Revely-Calder pens a picture piece on Samuel Beckett’s Gucci bag; and Hannah Black, Howie Chen, Jamillah James, Ajay Kurian and Suhail Malik share their sobering glimpses into how the project of artistic freedom has been co-opted by the far right.

Plus, 30 reviews from around the world, including reports on the Asia Pacific Triennial of Contemporary Art at Queensland Art Gallery, Brisbane, and two major solo shows by Mai-Thu Perret at Mamco Genève and Spike Island, Bristol.

Plus much more!

Q. What should stay the same? A. ‘Nothing’

By Pierre Guyotat

A rare view of Laurie Parsons’s work at Germany’s Museum Abteiberg provides space to reflect on art and social engagement

By Sarah James

250 works by more than 70 artists and creators from the pre-Columbian period to the present

By Wilson Tarbox

In the Iranian artist’s work, memory is smudged, an accretion of sorrows or nameless longings, a pile of waterlogged books in a flooded library

By Chris Wiley

An exhibition at Ikon Gallery, Birmingham, offers compelling evocations of causality and correlation

By Jonathan P. Watts

The sixth edition of the Sri Lankan arts festival uses the sea to press issues of migration and gentrification, climate change and the future of labour in the wake of automation

By Himali Singh Soin

Eichhorn’s quasi-retrospective at Zurich’s Migros Museum highlights the artist’s complex contestations in simple, often invisible, form

By Aoife Rosenmeyer

In Perret’s two crafts-filled shows at MAMCO, Geneva, and Spike Island, Birstol, she draws from the fabular women of New Ponderosa

By Paul Carey-Kent

Mikhailov’s photo series ‘Diary’ cheekily exposes the undersides of social suppression in the USSR

By Greg Nissan

The artists’ two-person show at London’s Cell Project Space lays bare the latent economic structures that condition our lives

By Amy Budd

The artist’s second solo show at Urs Meile in Beijing uses abstract neons to comment on social realities

By Nooshfar Afnan

An immersive installation at Gasworks offers different modes of thinking about ‘the psychic inheritance of an experience for which one has no memory’

By Derica Shields