frieze d/e

Issue 23

Spring 2016

The spring issue of frieze d/e is out now with essays by Ed Atkins, Kirsty Bell and Hannah Black on the return of "The Abject" in art; plus, features on Thea Djordjadze, Yngve Holen and Jochen Lempert; and a look at Omer Fast’s film adaptation of Remainder by Tom McCarthy. D

Also featuring: Karen Archey encounters bodily and technological extremes in the work of Yngve Holen; Patrizia Dander discovers how biology adapts to art in the work of photographer Jochen Lempert; and Saim Demircan explores Veit Laurent Kurz’s topographies of fear.

Bodily and technological extremes in the sculptures of Yngve Holen

By Karen Archey

Haus Konstruktiv, Zurich, Switzerland

By Jörg Scheller

Why has abjection gained renewed currency in art?

By Kirsty Bell

How biology adapts to art in the photographs of Jochen Lempert

By Patrizia Dander

Portikus, Frankfurt am Main, Germany

By Hans-Jürgen Hafner

Abjection has gained renewed currency as art looks to the body and states of digital and physical decay

By Ed Atkins
Illustration by Lauren Rolwing

Political rhetoric in art schools, the refugee crisis and Germany's new far right

By Jörg Heiser

mumok, Vienna, Austria

By Oona Lochner

Esther Schipper, Berlin, Germany

By Lian Rangkuty

Galerie Nagel Draxler, Berlin, Germany

By Ana Teixeira Pinto
Nicholas Deshayes, Cramps (detail), 2015, Mixed Media, three parts, each: 125 x 186 x 10 cm, courtesy: Stuart Shave / Modern Art, London

Why is abjection making a comeback?

By Hannah Black

MAK Wien, Austria

By Barbara Jenner