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frieze d/e

Issue 2

Autumn 2011

On the art of being truly site-specific

By Jennifer Allen
Oliver Laric, „Kopienkritik“, 2011, Videoinstallation in der Skulpturhalle Basel

Where does a sculpture start and where does it end? Since Rodin the answer has been unclear. Today, artists are finding very different solutions to the persistent problem of the pedestal

By Manuela Ammer
Martin Gostner, Monument für Nico und Wesi, 2003

In search of the past, Martin Gostner found a fleeting form of sculpture and invented a new time machine: the bay window

By Andreas Schlaegel
Metaphorische Situation (Bratislava)
Fotografie: Boris Ondrei?ka

On the power of metaphors to bring about change

By Jan Verwoert
What Got You Here, Won’t Get You There, 2011, Performance im Hamburger Bahnhof- Museum für Gegenwart, Berlin

Using music, performance and animation, Egill Sæbjörnsson creates hybrid stages, where analogue and digital worlds collide

By Dominikus Müller
Jessica Craig-Martin, Real Wasps Arrive, Denice Rich Benefit Gala, 2006, 2007

Business and private matters do get mixed up, unavoidably, structurally. But there is a need for limits. Laws mark these limits and guarantee a minimum of transparency.

By Jens Kastner
„camina por ahí. mira por aquí / walk around there. look here“, 2011, Ausstellungsansicht

Leonor Antunes uses iconic buildings as points of departure for precise sculptural installations which confound architectural models with measuring systems

By Ludwig Seyfarth
Peter Fischli / David Weiss, Der Brand von Uster aus der „Wurstserie“, 1979

Is there any way to escape national stereotypes?

By Gianni Jetzer
„Musée Sentimental de Prusse“, 1981, Ausstellungsansichten

Daniel Spoerri used found objects to explore a city’s history in ‘Le Musée sentimental’.

By Jennifer Allen
Johannes Kreidler auf dem 100° Berlin-Festival, 2008

On the controversial role of digitization in New Music

By Björn Gottstein
City Language III, 2009, Video Loop

City Sounds and Spontaneous Occupations

By Kito Nedo
raumlaborberlin, The Big Crunch, Temporäre Installation, Darmstadt, 2011

Many architects are turning towards found materials. Are the buildings of the future already waiting in the rubbish?

By Oliver Elser