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.

From this issue

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 |

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 |

Why is abjection making a comeback?

BY Hannah Black |

MAK Wien, Austria

BY Barbara Jenner |

Galerie Buchholz, Berlin, Germany

BY Kai Hoelzner |

The consumption of ecosystems and drug-altered states

BY Saim Demircan |

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

BY Simon Fujiwara |

The migrating forms of Thea Djordjadze

BY Matthew McLean |

Omer Fast's feature film adaption of Tom McCarthy's novel Remainder

BY Bert Rebhandl |

Museum Folkwang, Essen, Germany

BY Noemi Smolik |

Bielefelder Kunstverein & Kunstverein Nuremberg, Bielefeld, Nürnberg, Germany

BY Thomas Bettridge |

The following chronicle was submitted, unsuccessfully, to an academic conference on the history and practice of criticism

BY H. P. Schneemann |

Bonner Kunstverein, Bonn, Germany

BY Elodie Evers |

Württembergischer Kunstverein Stuttgart, Stuttgart, Germany

BY Holger Kube Ventura |

The artist Julia Scher talks about her series of 'Surveillance Beds'

BY Noemi Smolik |

Simon Elson's new biography of the overlooked art connoisseur Max J. Friedländer

BY Jan Kedves |

Los Angeles County Museum of Art, USA

BY Travis Diehl |

freymond-guth Ltd. Fine Arts, Zürich, Switzerland

BY Aoife Rosenmeyer |

Centre d'Art Contemporain, Genf, Switzerland

BY Mark Prince |

Galerie Emanuel Layr, Vienna, Austria

BY Melanie Ohnemus |

Contemporary Fine Arts, Berlin, Germany

BY Kito Nedo |