Hello,
The excellent summer issue of frieze has just hit newsstands, frieze.com and your mailbox. Before I tell you about it, I want to remind many of you that it is time to vote.
Today is the final day for citizens of the European Union to vote in the 2024 parliamentary elections – crucial contests held across the continent that will decide the fate of Europe, from immigration policy to our commitment to Net Zero to our role in global conflicts. On 4 July, the UK will hold its own general election. If you live in Britain and have not done so already, please consider registering here. And looking ahead to the US, Americans can register here for their earthshaker 5 November election. While many of us are disillusioned with electoral politics, voting is one of the few important ways you can make your voice heard.
Elections ask us to consider the present and future of our communities. Today, the word ‘community’ has become fashionable gabble in contemporary art. The summer issue of frieze looks closely at how – and where – it is really lived. Our columns delve into the built environments that shape us, from new developments in Côte d’Ivoire to the imaginary spaces of Minoru Nomata. In the features section, Rianna Jade Parker explores how a diverse group of artists living and working in early-20th-century Jamaica coalesced into a movement. Meanwhile, Blk Art Group member Marlene Smith speaks to Lubaina Himid about the benefits of more direct collaboration. We also see how four radical galleries have curated generation-crossing programmes in Tokyo (with original photography by Hanayo) and how American publisher Primary Information drives art discourse today through reprints of radical magazines and documents – a reminder that community can be formed across time as much as in it.
If you are a print subscriber to the magazine, look out for a special zine of Hanayo’s recent photographs of Tokyo – a lush, intimate portrait of one of the largest (and greatest) cities in the world.
Best,
Andrew Durbin
Editor-in-Chief, frieze
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