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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

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 Ku

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

The photographer Heidi Specker and her take on portraiture

By Kito Nedo

A look back at Hamburg's Akademie Isotrop with Hans-Christian Dany, Abel Auer interviewed by Nick Currie and Birgit Megerle

By Nick Currie

ZKM, Karlsruhe, Germany

By Noemi Smolik