In the September issue of Frieze, Jeremy Atherton Lin profiles artist Wolfgang Tillmans ahead of his major survey at the Museum of Modern Art, New York. Plus, ahead of her Turbine Hall commission at Tate Modern, London, we celebrate Cecilia Vicuña with contributions from Andrés Anwandter, Cathy Park Hong, Brenda Lozano, Mónica de la Torre and Alejandro Zambra.
Profile: Wolfgang Tillmans
‘If the purpose of looking is only to make, then there’s nothing to look at.’ On the occasion of Wolfgang Tillmans’s forthcoming exhibition at the Museum of Modern Art, New York, Jeremy Atherton Lin considers the artist’s search for truth and his many ways of looking.
I somehow have this sense of history – of the now being history. –Wolfgang Tillmans
Festschrift: Cecilia Vicuña
‘Cecilia Vicuña’s art dissolves the spurious borders between language and media.’ For the September issue of frieze, Andres Anwandter, Cathy Park Hong, Brenda Lozano, Monica de la Torre and Alejandro Zamba pay homage to an artist whose irreducible practice has drawn fantastically on personal and indigenous language and visual culture to challenge the limits of the imagination while evoking new possibilities for our shared reality.
Liz Kim delves into South Korea’s new artistic avant-garde; Alvin Li speaks to Mire Lee, whose solo show is open MMK Frankfurt; in ‘1,500 words’, coinciding with the release of her book How Not to Exclude Artist Mothers (and Other Parents), Hettie Judah explores the subject of motherhood in the work of Caroline Walker.
Columns: Parting Glances
Lucy Ives corresponds with Do Ho Suh, an artist known for reconstructing lost architecture; Wayne Koestenbaum pens a list of things he’s waved goodbye to, including ‘backstroke’ and ‘admiring large muscles’; Stanton Taylor on Reinhard Mucha’s farewell to West Germany; Cornelius Prior on processing grief through Psilocybin therapy. Plus, to coincide with the release of Mathieu Lindon’s new novel, Hervelino (2022), Alastair Curtis examines the writer’s relationships with Michel Foucault and Hervé Guibert.
Plus, Cathy Wade remembers a childhood encounter with Carolee Schneemann’s Up to and Including Her Limits (1973). Finally, Going Up, Going Down charts what’s hot and what’s not in the global art world and the latest iteration of our Lonely Arts column.