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Published eight times a year, Frieze is a magazine centred on contemporary art and culture, with a permanent gallery space in London and art fairs held in London, New York, LA and Seoul.
What grabbed us about this issue…
Issue 250 is dedicated to moving image and the Ed Atkins interview is the place to start. Hans Ulrich Obrist in conversation with one of the most distinctive voices in contemporary video art, ahead of his Tate Britain retrospective, gives the issue a strong anchor. The roundtable on the changing role of artists’ moving image is worth seeking out alongside it. Five curators, programmers and academics debating how artists’ films are disrupting the film industry is a more combative conversation than Frieze usually stages. Maryam Tafakory’s account of reimagining censored omissions from Iranian post-revolution cinema is also worth finding. It’s the most politically charged moment in an issue full of formal experimentation.
Who’s Frieze for?
With a finish that feels closer to a catalogue than throwaway read, Frieze is one to reach for when you want to find out more about the contemporary art scene. It’s timely, with advertisements and reviews that point you towards projects that are happening now. Think of it as an exhibition guide, interspersed with longer pieces and artist profiles that sit with an idea a little more. It’s one we return to for its way of looking at art without overcomplicating it.
Type: Special interest, mixing long-form with photography
Pages: 140
Instagram: @friezeofficial