Issue 13
Mar – Apr 2014

Issue 13 of frieze d/e looks to the Rhineland and Benelux region. The concentration of art institutions in the Rhineland and Benelux countries makes it unlike any other region in the world. Eight artists, critics and curators from across the area discuss its unique combination of competition and collaboration

Brigitte Kölle and Lynda Morris reflect on how Konrad Fischer and other Rhineland and Benelux gallerists introduced Conceptual art to Europe.

Also featured: Anna Gritz charts the performances of Gerry Bibby—plus his specially commissioned artist project; and Christy Lange considers the miracle of depth in the experimental photography of Ketuta Alexi-Meskhishvili.

From this issue

Do three recent German museum shows suggest a haptic antidote to our screen-based lives?

BY Kirsty Bell |

Endings and beginnings in Berlin

BY Christy Lange |

American comics, Russian Suprematism and German philosophy: welcome to the world of Andy Hope 1930

BY John C. Welchman |

Museum Ludwig, Cologne

BY Jörg Scheller |

Social streaming

BY Kito Nedo |

For this regular series, artist Michaela Meise discusses her affinity to architect Ferdinand Kramer

BY Pablo Larios |

KW Institute for Contemporary Art, Berlin

BY Dominikus Müller |

An essay by Brigitte Kölle on the crucial but overlooked role of Konrad Fischer and other Rhineland and Benelux gallerists who brought Conceptual art to Europe

BY Brigitte Kölle |

From latex printing to art restoration: Markus Hoffmann of renowned Dusseldorf photo lab Grieger takes us through the company’s processes

BY Markus Hoffmann |

Migros Museum für Gegenwartskunst, Zürich

BY Adam Jasper |

Why has the exhibition ‘Prospect 68’ been overlooked?

BY Lynda Morris |

Austrian band Ja, Panik’s utopian Esperanto

BY Klaus Walter |

The density of art institutions in the Rhineland and Benelux region is exceptional. We asked an artist, a musician, an art critic and a number of museum directors and curators from the region what the benefits and drawbacks of this landscape are for exhibition makers and audiences alike

BY Noemi Smolik |

How German-language cinema is joining the global horror boom

BY Bert Rebhandl |

Ketuta Alexi-Meskhishvili’s images conjure depth from the flat surface of photography

BY Christy Lange |

Dutch sculptor and mask designer Rein Vollenga shares some favourites from his archive of images

BY Rein Vollenga |

Galerie Esther Schipper

BY Lotte Everts |

Staging Martin Kippenberger’s turbulent biography

BY Jörg Scheller |

Define the relationship

BY Pablo Larios |

Van Horn, Düsseldorf

BY Timotheus Vermeulen |

Something else, all the same

BY Timotheus Vermeulen |

Rita McBride explains her ten-point manifesto for the Dusseldorf Art Academy

BY Jan Kedves |

Inhabiting the roles of collaborator and critic, Gerry Bibby’s performative projects shine a light on the hidden workings of institutional settings

BY Anna Gritz |

Gregor Podnar, Berlin

BY Mark Prince |

Kunstmuseum, St. Gallen

BY Aoife Rosenmeyer |

Neue Gesellschaft für Bildende Kunst, Berlin

BY Jan Kedves |

Galerie Esther Donatz

BY Gürsoy Doğtaş |

Grazer Kunstverein

BY Vitus Weh |

MMK Museum für Moderne Kunst

BY Kathleen Rahn |

Kerstin Engholm Galerie, Wien

BY Maximilian Geymüller |

Choose a single object of special significance from your working or living environment

BY Candida Höfer |

Galerie Vera Munro, Hamburg

BY Jens Asthoff |

Beyond techno. The many sides to Berlin’s PAN records

BY Abi Bliss |