Issue 17
Dec 2014 – Feb 2015

Issue 17 of frieze d/e looks at images, archives and their dissemination, from Cold War photography in the GDR to the artwork in the digital age.

Contributing Editor Christy Lange profiles Hamburg-based artist Peter Piller, whose use of found images foreshadowed the way Tumblr has shaped online image culture.

Writer and critic Kolja Reichert remembers “the great, awe-inspiring, incorruptible punk of German photography,” Michael Schmidt (1945–2014). 

Also featuring: Art historian Susanne von Falkenhausen‘s lament for the work of art in the age of digital circulation; frieze's Amy Sherlock gauges the distance between seeing and being seen in the paintings of Ellen Gronemeyer; and critic Esther Buss unearths hidden narratives of power in Jan Peter Hammer‘s films.

From this issue

Casting light on the hidden narratives of power: the films of Jan Peter Hammer

BY Esther Buss |

Images for a different future: recent projects examine the projected desires of the German Democratic Republic’s lost socialist culture

BY Sarah E. James |

Source, archive, evidence

BY Quinn Latimer |

Neue Nationalgalerie

BY Hili Perlson |

Peter Piller picked a peck of prickly pictures

BY Christy Lange |

Kunstverein München

BY Barbara Jenner |

A lament for the work of art in the age of digital circulation

BY Susanne von Falkenhausen |

Kolja Reichert remembers the late photographer Michael Schmidt and his pictures of a Berlin that most others overlooked

BY Kolja Reichert |

Forty and Forty… with Manfred Pernice and Klara Lidén

BY Karen Archey |

Kraupa-Tuskany Zeidler

BY Kito Nedo |

Design, deception, sexuality

BY Matthew McLean |

Ellen Gronemeyer’s paintings gauge the distance between seeing and being seen

BY Amy Sherlock |

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

BY Ulrich Seidl |

KW Institute for Contemporary Art

Museum der Moderne

BY Sabine Weingartner |

xippas art contemporain

Calling capital’s bluff

BY Jan Verwoert |

One hundred years of the Leica camera

BY Ulf Erdmann Ziegler |

Why Cosima von Bonin installed a vomiting sculpture on the facade of mumok in Vienna

BY Cosima von Bonin |

Centre d’Art Contemporain

BY Mike Watson |

A visit to the Wende Museum in LA, the unlikely home to artefacts from the former Eastern Bloc

BY Jan Brandt |

Isabella Bortolozzi Galerie

BY Pablo Larios |

Living and thinking in Berlin: two recent films by Max Linz and Stephan Geene

BY Ekkehard Knörer |

Berlin-based singer-songwriter Dan Bodan shares the things he likes to keep close

BY Dan Bodan |

Heidelberger Kunstverein

BY Jan Kedves |

Stefan Goldmann asks how Berlin-made music software has affected global club sounds

BY Jan Kedves |

Séamus Kealy, the director of the Salzburger Kunstverein, examined to what extent the concept of the punctum is still viable

BY Noemi Smolik |

Viennese author Stefanie Sargnagel talks about her idol, the caricaturist Manfred Deix

BY Stefanie Sargnagel |

Kunstverein Hannover

BY Moritz Scheper |