frieze d/e

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.

The Call of the Cthulhu, 2014, neon; all images courtesy: the artist, Supportico Lopez, Berlin & LABOR, Mexico City

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

Winsor McCay, aus der Serie Little Nemo in Slumberland 1905–11, New York Herald, 26. Juli 1908

Various venues

aus Reinhard Mendes Fotografien von der Leipziger Messe, 1971, kürzlich digitalisiert im Rahmen des Projektes Doppelte Ökonomien 2012–13. Courtesy: Archiv Mende / Produzieren 2013

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

Hagar Schmidhalter, 114, 2012, Tintenstrahldruck. Courtesy: the artist

Source, archive, evidence

Moshe Gershuni, Vier ernste Gesänge (6/6), 1986

Neue Nationalgalerie

Peter Piller, Umschläge #10 (Detail), 2011-12, Archivbilder als Pigmentdruck auf Alu-Dibond. Courtesy: VG Bild-Kunst, Bonn, Archiv Peter Piller & Capitain Petzel, Berlin

Peter Piller picked a peck of prickly pictures

Ger van Elk, The Co-founder of the Word O.K. – Marken Nr. 3, 1971/1999, Fotografie

Kunstverein München

Studio Jonathan Post, CGI wolf fur rendering, 2014. Courtesy: Studio Jonathan Post, Sao Paolo

The work of art in the age of digital circulation: a lament

AnnaÏk Lou Pitteloud, White between the Darlings [Transcendental Know-How], 2014, Installationsansicht

Barbara Seiler

ohne Titel, aus der Serie Berlin Stadtbilder, 1976–77, Silbergelatinedruck; all images courtesy: © Stiftung für Fotografie und Medienkunst mit Archiv Michael Schmidt & Galerie Nordenhake Berlin / Stockholm

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

Marc Camille Chaimowicz, Forty and Forty… with Manfred Pernice and Klara Lidén, installation views Galerie Neu, Berlin

Forty and Forty… with Manfred Pernice and Klara Lidén