The March issue of frieze is out now, with features on Dorothea Tanning and Lu Yang; a visual essay by Jochen Lempert; and a report on how artists and spaces in Buenos Aires are adapting to a vibrant yet volatile cultural climate.
Lu Yang’s Final Fantasy
“Lu’s avatar is both the supreme being of her personal cosmology and the tortured cadaver of her Frankenstein’s lab.”
In the run-up to major institutional shows across Shanghai and Rome, Gary Zhexi Zhang unpacks the darkly comic, technofuturistic imagery of video artist Lu Yang.
Eye of the Storm: Dorothea Tanning
“Tanning gives full expression to her childhood imagination and its eclectic catalogue of fears, fantasies and domestic psychodramas.”
On the occasion of the late surrealist’s major retrospective at Madrid’s Museo Reina Sofia and London’s Tate Modern, Claire-Louise Bennett slips into reverie in front of Dorothea Tanning’s paintings.
Also featuring: Kito Nedo delves into Henrike Naumann’s historically loaded domestic interiors; Hettie Judah talks to Petrit Halilaj about butterflies, artefacts and the cultural history of his Kosovar home city; Chris Fite-Wassilak navigates the lo-fi, purgatorial environments of Morag Keil; Jochen Lempert captures “that strange alchemy we call life” in a series of specially commissioned photographs; and, in a three-part report from Buenos Aires, novelist María Gainza considers the effects of crisis on art, performance artist Marta Minujín talks to curator Renata Cervetto about the power of public participation, and artist Osías Yanov highlights the city’s innovative non-profit spaces.
Columns & reviews:
Artist Oliver Beer on his “life in sound,” Morgan Jerkins on a new collection of writings by Kathleen Collins; Masha Tupitsyn on Alfonso Cuarón’s Roma (2018) and what its success says about the film industry; Gareth Damian Martin on a spate of new games responding to environmental crises; Audrea Lim on the history of the typewriter and China’s dominance in communications technology; Olivia Laing on connections between Virginia Woolf’s last novel and Wolfgang Tillmans’s set design for Benjamin Britten’s War Requiem (1962); and Negar Azimi on Anne Boyer and the politics of refusal.
Plus, 43 reviews from around the world, including reports on the Fourth Kochi-Muziris Biennale and three exhibitions showcasing Japanese art from the 1980s. Answering our questionnaire is Nicholas Hlobo, whose solo exhibition at SCAD Museum of Art, Savannah, is on view until July.
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