‘You don’t have to produce a certain kind of “art” and you don’t need validation from certain kinds of institutions.’ – Ajamu
In the January/February issue offrieze,Kevin Brazilprofiles Brixton-based photographerAjamu, whose solo exhibition at Cubitt, London, opens in early 2021;Jane Ure-Smithinterviews the painterMichael Armitage on the occasion of a major show at Haus der Kunst, Munich; andVincent Fecteauanswers our questionnaire.
Profile: Kevin Brazil on Ajamu
‘The darkroom teaches you that maybe waiting, and nothing happening, can be enough’. In his darkroom in Brixton, south London, the photographerAjamucelebrates the
pleasures of community and the Black male body
Conversation: Jane Ure-Smith and Michael Armitage
‘I only have a sense of belonging in Kenya’. With a solo show at Munich’s Haus der Kunst, the Kenyan-British artistMichael Armitagespeaks withJane Ure-Smithabout the canvas as conflict, his painterly East African influences and founding an experimental arts space in Nairobi.
Susan Bernofskycontributes ‘1500 words’ on her experience translating the words of German novelistThomas Mann.Carson Chan’s essay explores artists’ elemental turn towards water and alchemy. Plus, a dossier on the history of domestic exhibition spaces in Los Angeles with contributions from 10 artists, curators and dealers, includingTaylor ReneeAldridge,Liz Craft,Diana Thaterand a commissioned photography byJanna Ireland.
Columns: Mirror Image
ArtistBarbara Bloomspeaks toEvan Moffittabout the use of mirrors in her works and the nature of perception;Priya Khanchandanilooks at the phenomenon of the ‘cyborgian face’ in an age of Zoom, and contributing editor Barbara Casavecchia remembers designer and artist Enzo Mari. Also, in anticipation of its final series,Alissa Bennettwatches every episode ofKeeping Up with the Kardashians(2007-2021) andChristy Langeexamines the rise of ‘deepfakes’.