frieze d/e

Issue 24

Summer 2016

The latest issue of frieze d/e is out now with an essay by Ana Teixeira Pinto on the digitalization of domestic space and an interview with award-winning theatre director Milo Rau; plus, features on Ull Hohn, Heidi Specker, Clemens von Wedemeyer and the German Pavilion at the Venice Architecture Biennale 2016.

Also featuring: Hans-Jürgen Hafner encounters conceptual cool and sensuality in the works of late painter Ull Hohn; Bert Rebhandl examines battles between points of view in the films and installations of Clemens von Wedemeyer; Kito Nedo takes a closer look at photographer Heidi Specker's very own take on portraiture; and frieze d/e editor Dominikus Müller talks to award-winning theater director Milo Rau about responsibility, empathy and "meta-slavery."

On art, architecture, and domestic effects of digitalization

By Ana Teixeira Pinto

Clemens von Wedemeyer's films and installations and their battles with points of view 

By Bert Rebhandl

Villa Stuck, Munich / Kunstmuseum Stuttgart, Germany

By Bert Rebhandl
Michaela Melián, Electric Ladyland, 2016 (Ausschnitt). Courtesy Artist, VG-Bildkunst Bonn 2016. 

Lenbachhaus, Munich, Germany

By Hanne Loreck

The German Pavillon at the Venice Architecture Biennale 2016, and the push to build homes for refugees

By Niklas Maak

A roundup of the 12th Gallery Weekend Berlin

By Ana Teixeira Pinto

Millennial terrorism and the Brussels attacks: a diary 

By Deanna Havas

Berlin's Jewish Museum hosts a major retrospective on New York No!Art artist Boris Lurie

By Ulrich Gutmair

Sensual, haptic, with a theory-driven conceptual cool, the painting of Ull Hohn, who died in 1995, is now on view in a first mayor survey at the Kunsthalle Bern

By Hans-Jürgen Hafner

A conversation with theatre director Milo Rau about responsibility, empathy and 'meta-slavery'

By Dominikus Müller

In Focus: Raphaela Vogel

By Melissa Canbaz

Risk Assessment

By Saim Demircan