The November–December issue of frieze is out now, with features on Rasheed Araeen, Matthew Brannon, and Anne Imhof; a survey of art, class and precarity; and a look at how a group of emerging female artists is exploring femininity as a marketing construct.
Work for Nothing: Anne Imhof
Following the artist’s recent solo shows at Kunsthalle Basel, Hamburger Bahnhof, Berlin and MoMA PS1, New York, associate editor Pablo Larios explores the relationship between performance, painting and protest in the work of Anne Imhof. “When public space has become corporate property, and time has been rendered ‘efficient’ to serve productivity, it’s hard not to consider Imhof’s performances, with their extended periods of just ‘hanging out,’ as valorizing idle time.”
Keeping Up Appearances: Art, Class & Precarity
In response to exhibitions over the last few years looking at the politics of labour, we survey the current relationship between art and social class. Artists and writers from various global, generational and class perspectives—including Magalí Arriola, Nathaniel Mellors and Adrian Piper—describe the role class plays in their work; associate editor Paul Clinton interviews queer theorist Didier Eribon; and co-editor Dan Fox explores the social and emotional complications of class in the art world.
Also featuring:
George Pendle on a new body of work from Matthew Brannon tackling America’s central 20th-century trauma, the Vietnam War; Rosanna Mclaughlin explores Beatrice Loft Schulz, Samara Scott, Amalia Ulman and Holly White’s depictions of “girliness” as consumer paradigm and sexual fantasy; Tim Smith-Laing talks to Rasheed Araeen about six decades of art making, writing and publishing; and Sean O’Toole discovers poetry and social practice in the performances of Congolese choreographer Faustin Linyekula.
Columns & reviews:
Assistant editor Evan Moffitt reports on exciting new arts initiatives emerging in central Mexico; philosopher Robin van der Akker responds to Donna Haraway’s alternative theory of the Anthropocene; Matthias Dusini tracks the controversies currently gripping Austrian museums; and the director of Kunsthalle Zürich, Daniel Baumann, asks if it’s time to put a stop to art prizes and residencies.
Plus, 32 exhibition reviews from around the world and a questionnaire from artist Zeng Fanzhi, on the occasion of his solo show at Ullens Center for Contemporary Art, Beijing, which runs until November 19.
Subscribe today and explore the issue on frieze.com.
frieze video:
To coincide with the magazine’s feature on her work, Anne Imhof talks to frieze about her “opera” Angst II (2016), recently staged at Berlin’s Hamburger Bahnhof.
frieze.com:
Visit our newly redesigned website for daily updated content, including: exhibition reviews, art-world news and critics’ guides to current art and culture highlights around the globe. Also, browse our new “On View” platform: a definitive guide to exhibitions at leading international galleries and museums.
Frieze Writer’s Prize
Daniel Culpan is the winner of the Frieze Writer’s Prize 2016 for his review of Nicole Eisenman’s show Al-ugh-ories at the New Museum, New York, earlier this year. This year’s prize was judged by writer and artist James Bridle, frieze associate editor Paul Clinton and writer Olivia Laing. The Frieze Writer’s Prize is an annual international award to discover and promote new art critics. Read the winning review and find out more here.
