Chloe Stead

Dec 10, 2024 | frieze.com | Marko Gluhaich |Vanessa Peterson |Lou Selfridge |Chloe Stead

Marko Gluhaich What trends have you noticed this year? Chloe Stead Every year, I express disappointment in the performances I’ve seen, but this year, I finally encountered an example of the gritty body art performance I’d been missing. I didn’t think I cared for Young Boy Dancing Group because they seemed gimmicky – something for Instagram. But this August, I attended a self-titled performance they did in the courtyard of an empty apartment block in Berlin and was blown away.

Sep 30, 2024 | frieze.com | Chloe Stead

Frieze Editor’s Picks is a fortnightly column in which a frieze editor shares their recommendations for what to watch, read and listen to. Coralie Fargeat, The Substance, 2024The Substance may be a flawed film but seeing it in a packed cinema was the best communal viewing experience I’ve had in a long time. People gasped, groaned and swore; a few horrified movie-goers even picked up their bags and left.

Sep 25, 2024 | frieze.com | Chloe Stead

Formed 25 years ago in Zagreb, after the disintegration of Yugoslavia, What, How & for Whom/WHW is a four-person curatorial collective named after the three basic questions of economic organization. Last month, three of its members – Ivet Ćurlin, Nataša Ilić and Sabina Sabolović – were announced as the new artistic directors of Skulptur Projekte Münster.

Aug 16, 2024 | frieze.com | Chloe Stead

There are 227 inhabited Grecian islands and, if my inbox is anything to go by, at least half of them have, at one time or another, been used as the glamourous backdrop for an exhibition organized by an art foundation. The most famous of these idyllic holiday-destinations-cum-art hotspots is almost certainly Hydra, where billionaire collector Dakis Joannou hosts an annual event at Deste Foundation, but there are countless other examples, from Samos and Anafi to Chios and Spetses.

Aug 16, 2024 | frieze.com | Chloe Stead

A small watercolour caught my eye at the entrance to ‘Herstory’, Judy Chicago’s current survey at the LUMA Foundation, Arles. In this drawing, part of the 140-work series ‘Autobiography of a Year (1993–94)’, a crudely rendered woman is about to be hit on the head by a man holding a mallet. An accusation in a mix of loopy cursive and capital letters encloses her from above and below. ‘You make BAD ART,’ the text reads.