{"product_id":"frieze-262","title":"Frieze #262","description":"\u003cp style=\"font-weight: 400;\"\u003eFor the October issue of \u003cem\u003efrieze\u003c\/em\u003e magazine, writer \u003cb\u003e\u003cstrong\u003eZoë Hopkins\u003c\/strong\u003e\u003c\/b\u003e speaks with \u003cb\u003e\u003cstrong\u003eLorna Simpson\u003c\/strong\u003e\u003c\/b\u003e as she returns to the UK with an exhibition at Hauser \u0026amp; Wirth London. Plus, on the occasion of \u003cb\u003e\u003cstrong\u003eSusan Hiller\u003c\/strong\u003e\u003c\/b\u003e’s survey at KW in Berlin, novelist \u003cb\u003e\u003cstrong\u003eLynne Tillman\u003c\/strong\u003e\u003c\/b\u003e elegizes her late friend.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003e\u003cb\u003e\u003cstrong\u003eInterview: Lorna Simpson\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e‘You can’t make the same paintings again; that’s not a desire, nor something to accomplish.’ \u003cb\u003e\u003cstrong\u003eLorna Simpson\u003c\/strong\u003e\u003c\/b\u003e considers the materiality of painted, collaged and archival layers in her work.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cb\u003e\u003cstrong\u003e1,500 Words: After Susan\u003c\/strong\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e‘Like discovering gold, suddenly I recognized Susan.’ \u003cb\u003e\u003cstrong\u003eLynne Tillman\u003c\/strong\u003e\u003c\/b\u003e’s ode to the influential friendship – and laughter – she shared with \u003cb\u003e\u003cstrong\u003eSusan Hiller\u003c\/strong\u003e\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cb\u003e\u003cstrong\u003eAlso featuring\u003c\/strong\u003e\u003c\/b\u003e  \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eAhead of \u003cb\u003e\u003cstrong\u003eAmar Kanwar\u003c\/strong\u003e\u003c\/b\u003e’s major solo exhibition at Serpentine North, \u003cb\u003e\u003cstrong\u003eT.J. Demos\u003c\/strong\u003e\u003c\/b\u003e profiles the filmmaker and the art of his ‘half-stories’. A thematic essay by \u003cb\u003e\u003cstrong\u003eNathalie Olah\u003c\/strong\u003e\u003c\/b\u003e probes what the stage truly represents for a burgeoning crowd of contemporary artists fascinated by the theatre. And \u003cb\u003e\u003cstrong\u003ePolly Staple\u003c\/strong\u003e\u003c\/b\u003e, \u003cb\u003e\u003cstrong\u003eAmal Khalaf\u003c\/strong\u003e\u003c\/b\u003e, \u003cb\u003e\u003cstrong\u003eNicole Wermers\u003c\/strong\u003e\u003c\/b\u003e and \u003cb\u003e\u003cstrong\u003eMichelle Cotton\u003c\/strong\u003e\u003c\/b\u003e reflect on the co-operative \u003cb\u003e\u003cstrong\u003eCubitt Gallery\u003c\/strong\u003e\u003c\/b\u003e’s vital role in London’s creative scene.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cb\u003e\u003cstrong\u003eColumns: \u003c\/strong\u003e\u003c\/b\u003e\u003cb\u003e\u003cstrong\u003ePlay\u003c\/strong\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cb\u003e\u003cstrong\u003eSean Burns\u003c\/strong\u003e\u003c\/b\u003e explores how \u003cb\u003e\u003cstrong\u003eSalman Toor\u003c\/strong\u003e\u003c\/b\u003e captures queer longing and energy in works on view at The Courtauld Gallery, London. \u003cb\u003e\u003cstrong\u003eClaudia Ross\u003c\/strong\u003e\u003c\/b\u003e speaks to artist \u003cb\u003e\u003cstrong\u003eJill Magid\u003c\/strong\u003e\u003c\/b\u003e, amid a string of shows, about probing absurdity in civic bureaucracy. Artist \u003cb\u003e\u003cstrong\u003eSonia Kazovsky\u003c\/strong\u003e\u003c\/b\u003e tells \u003cb\u003e\u003cstrong\u003eIvana Cholakova\u003c\/strong\u003e\u003c\/b\u003e how she built her ‘Playground’ (2026) as an accessible, imaginative space. \u003cb\u003e\u003cstrong\u003eLaura McLean-Ferris\u003c\/strong\u003e\u003c\/b\u003e outlines how \u003cb\u003e\u003cstrong\u003eRyan Gander\u003c\/strong\u003e\u003c\/b\u003e’s transdisciplinary practice taps into the unstable and unknown. And, as film collective \u003cb\u003e\u003cstrong\u003eWakaliga Uganda\u003c\/strong\u003e\u003c\/b\u003e’s latest debuts at Chisenhale Gallery, London, \u003cb\u003e\u003cstrong\u003eMyriam Ben Salah\u003c\/strong\u003e\u003c\/b\u003e considers their eye for turning stories into sites of reversal. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003ePlus, \u003cb\u003e\u003cstrong\u003eMax Andrews\u003c\/strong\u003e\u003c\/b\u003e responds to \u003cb\u003e\u003cstrong\u003eTeresa Solar Abboud\u003c\/strong\u003e\u003c\/b\u003e’s installation ‘Osteoclast’ (2021) and, for the back of the magazine, assistant editor \u003cb\u003e\u003cstrong\u003eIvana Cholakova\u003c\/strong\u003e\u003c\/b\u003e pens a postcard from the Greek island of Skiathos. Finally, this issue marks the debut of \u003cem\u003efrieze\u003c\/em\u003e’s ‘Seating Chart’, inviting the art world’s most influential names to dinner.\u003c\/p\u003e","brand":"ROVA","offers":[{"title":"Default Title","offer_id":64753921917305,"sku":null,"price":11.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0213\/5204\/files\/Cover-frieze262-nobarcode_1_1024x1024_6b1c623e-c19b-4f7e-9054-d20919d4cc86.jpg?v=1790853157","url":"https:\/\/rovaeditions.co.uk\/products\/frieze-262","provider":"ROVA ","version":"1.0","type":"link"}