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Launched in 1991, Frieze is a magazine of contemporary arts and culture with a permanent gallery space in London and art fairs in London, New York, L.A and Seoul. Each issue features profiles and reportage on art and artists, exhibition reviews and cultural news from around the world.
The April issue of frieze magazine is dedicated to artists working with moving image. Hans Ulrich Obristinterviews Ed Atkinson his cinematographic influences ahead of the artist’s spring retrospective at Tate Britain, London. Plus, five experts – curators, programmers, artists and academics – participate in a roundtable on the changing role and visibility of artists’ moving image in the art world and film industry.
Interview: Ed Atkins
‘I found a way to speak through videos that confessed their constitution and their artifice.’ Hans Ulrich Obristspeaks to the artist about the uncanny intimacy of digital avatars and why writing remains the foundation of his work.
Roundtable:Industrial Action
‘Contemporary art is not only innovating the language of cinema but shaping the future of the film industry.’ Erika Balsom, Leonardo Bigazzi, Stuart Comer, Paolo Moretti and Ana Vaz debate the reception and production of artists’ films, touching on how they use technology to disrupt and challenge.
Also featuring
Lou Stoppard profiles Diego Marcon, whose captivating films blur the line between the grotesque and the comedic. In ‘1,500 Words,’ Laura McLean-Ferris explores the lasting influence of Agnès Varda’s film Cléo from 5 to 7(1962). Plus, contributing writer Juliet Jacques pens an essay on teaching at the Royal College of Art in London,walking us through her eclectic curriculum on archive filmmaking.
Columns: On Set
Madeleine Hunt-Ehrlich speaks with senior editor Vanessa Petersonabout the power of collaboration in her filmmaking practice; artist Saodat Ismailovatalks to Saim Demircan about her coming of age as a female director in Uzbekistan; Maryam Tafakory’s recounts to Cici Peng how she reimagines censored omissions from Iranian post-revolution cinema; Kevin Jerome Eversonoutlines to Carlos Valladares how his upcoming cinematic projects tap into the medium’s immediacy. Senior editor Marko Gluhaichinterviews Tolia Astakhishviliand James Richards on how their films and slide shows distort architecture by evoking memories.
Finally, KJ Abuduresponds to Valentin Noujaïm’s short film Oceania (2024). Plus, Madeleine Hunt-Ehrlichcontributes to our series of artists’ ‘to-do’ lists and senior editor Vanessa Petersonpens a postcard from London.