{"product_id":"frieze-26","title":"Frieze #263 - November\/ December 2026","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eFrieze #263 - November\/ December 2026\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"body-field\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe November\/December issue of \u003cem\u003efrieze\u003c\/em\u003e magazine marks photography’s bicentennial with a roundtable discussion on the enduring power, and challenges, of the medium. Plus, \u003cstrong\u003eSusana Plotts-Pineda\u003c\/strong\u003e speaks with \u003cstrong\u003eDoris Salcedo\u003c\/strong\u003e, as the artist’s major new exhibition opens at White Cube, New York.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eRoundtable: Picture Perfect\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e‘We should be careful what we wish for when we worry about the lack of acceptance for photography in the art world.’ \u003cstrong\u003eNadine Henrich\u003c\/strong\u003e, \u003cstrong\u003eTaous Dahmani\u003c\/strong\u003e, \u003cstrong\u003eDavid Campany\u003c\/strong\u003e and \u003cstrong\u003eHoda Ashfar \u003c\/strong\u003econsider the shapeshifting medium’s singular place in visual culture.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eInterview: Doris Salcedo\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e‘One way of operating within the art world is to break away from indifference.’ \u003cstrong\u003eDoris Salcedo\u003c\/strong\u003e on her devotion to preserving memory and pinpointing beauty in sites of destruction.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eAlso featuring\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the features, \u003cstrong\u003eLaura McLean-Ferris\u003c\/strong\u003e profiles filmmaker \u003cstrong\u003eDiane Severin Nguyen\u003c\/strong\u003e ahead of her show at Haus der Kunst München. From Instagram Stories-as-script to a central voice becoming a chorus, the internet’s historian \u003cstrong\u003eMindy Seu \u003c\/strong\u003etraces her fascination with reworking the lecture through performance in ‘1,500 Words’. And, following a slate of recent novels about artists, a thematic essay by \u003cstrong\u003eLou Stoppard\u003c\/strong\u003e imagines an exhibition adorned with fictional artworks.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eColumns: Otherworldly\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eMariana Fernández \u003c\/strong\u003eexplores how \u003cstrong\u003ePortia Zvavahera \u003c\/strong\u003epaints the spiritual outlines of her phantasmagorical world, ahead of the artist’s mid-career survey at WIELS in Brussels. \u003cstrong\u003eShiv Kotecha\u003c\/strong\u003e reflects on two decades of filmmaker \u003cstrong\u003eAna Vaz\u003c\/strong\u003e’s elemental and embodied practice, as Luxembourg’s Mudam presents her first major institutional show. \u003cstrong\u003eElizabeth Wiet\u003c\/strong\u003e considers what the puzzle piece motif in the work of \u003cstrong\u003eHyun-Mi Yoo \u003c\/strong\u003ereveals about earthly regeneration and cosmic interconnectedness. \u003cstrong\u003eWendy Vogel\u003c\/strong\u003e analyses the ghosts, zombies and feng shui haunting global finance in the work of \u003cstrong\u003eWong Kit Yi\u003c\/strong\u003e, on view in transcendental dual installations at Rockbund Art Museum, Shanghai. Senior editor \u003cstrong\u003eTerence Trouillot\u003c\/strong\u003e speaks with \u003cstrong\u003eMorgan Bassichis\u003c\/strong\u003e about the comedian’s quasi-necromancy and new performance ‘In Concert with Amy Winehouse’ at Joe’s Pub, New York.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePlus, \u003cstrong\u003eMira Dayal \u003c\/strong\u003eresponds to \u003cstrong\u003eHowardena Pindell\u003c\/strong\u003e’s ‘portable grid’ work, \u003cem\u003eUntitled\u003c\/em\u003e (1968-70), and for the back of the magazine, associate editor \u003cstrong\u003eAngel Lambo\u003c\/strong\u003e pens a postcard from Hastings. Finally, \u003cem\u003efrieze\u003c\/em\u003e’s ‘Seating Chart’ imagines what inviting the art world’s most influential names to dinner might look like\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"Central","offers":[{"title":"Default Title","offer_id":60273008738688,"sku":null,"price":11.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2009\/7115\/files\/Frieze263-November_December2026.jpg?v=1793374438","url":"https:\/\/unitom.info\/products\/frieze-26","provider":"UNITOM","version":"1.0","type":"link"}