Frieze 200

‘The world certainly wasn’t perfect but that night I didn’t have to contend with an unmadeness’

By Ima-Abasi Okon

Some have mattered more to the living Jalal, others to the dead one indulging in jouissance

By Jalal Toufic

‘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

‘Through the doors of underworld rose a mind structured by languages inherited from the dead’

By Forrest Gander

‘A brilliantly analytical account of how the increasing prominence of English has gradually pushed other languages to a minor role’

By Vincenzo Latronico

‘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