frieze d/e

Issue 3

Winter 2011–12

Is there a difference between digital reproduction and manipulation?

Ausriss aus Freizeit Monat (Nr. 05, 08.04.2011)

Someone who cared

Hervé Guibert, Michel, 1981 (Courtesy: der Künstler & Christine Guibert)

The end of film photography and the rise of digital photography have led to new genres, methods and histories.An overview of a dying and a thriving

Marieta Chirulescu, Ohne Titel/Untitled (forma 1/Form 1), 2011 (Courtesy: Galerie Micky Schubert, Berlin & die Künstlerin)

Using both analogue and digital reproductions, Marieta Chirulescu explores abstract painting and physical space

_AIZ_-Titelblatt (Nr. 31), Collage: John Heartfield, 1933 (Courtesy: Deutsches Historisches Museum, Berlin, The Heartfield Community of Heirs, VG Bild-Kunst, Bonn 2011)

What happens to old photojournalism archives?

Haris Epaminonda/Daniel Gustav Cramer, Book #15, Konrad Onasch, Ikonen, aus der Serie: „The Infinite Library“, seit 2007 (Courtesy: die Künstler & Rodeo, Istanbul, private Sammlung)

Haris Epaminonda began working with found photographs, films and objects – and ended up with a novel form of collage

For more than 40 years, Hans-Peter Feldmann has collected photographs to create his own personal archive

Reto Pulfer, Ausdrucksmoment im Blauen Zimmer, 2009–11 (Courtesy: der Künstler & Gallery Balice Hertling, Paris)

Exhaustion, Textiles, Ceramics and Mnemonics

Anna Witt, Push, 2006 (Courtesy: die Künstlerin & Wentrup Gallery)

Subject, Object and Abject

Taryn Simon, A Living Man Declared Dead and Other Chapters (Ein für tot erklärter Lebender und andere Kapitel), 2008–11, Auszug aus Kapitel XI (Courtesy: Gagosian Gallery & die Künstlerin)

Five groundbreaking cases of photography in litigation

Shirana Shahbazi, [Schmetterling-32-2008], 2008

Fotomuseum Winterthur

Pierre Huyghe, Umwelt, Detail, 2011

Esther Schipper, Berlin, Germany