In the February/March issue of frieze d/e
Issue 8 of frieze d/e turns its focus to the Rhineland with a roundtable featuring Renate Goldmann, Hannes Loichinger, Marcel Odenbach, Susanne Titz and Gregory H. Williams who discuss the myths and realities of the Cologne art scene in the early 1990s and the effects of its enduring legacy in places as far afield as Berlin and New York.
Public Figures: Thomas Schütte speaks with Ulrich Loock about four decades of art making and the place of public monuments in his disparate practice. ‘I think a scratch on a copper plate or a fingerprint on clay or burned Polystyrene are just great. Precisely the kind of things that were forbidden when I was a student: artist’s hand, fingers, bodies, personal stuff.’
City Report: Timotheus Vermeulen reports from Dusseldorf on the growing interest in a generation of artists graduating from the academy and a city emerging from the shadow of its glory days of the 1970s and ’80s.
Nobody’s Fool: Tom Morton examines the feints, swerves and coded allusions in the work of Michael Krebber, with the first major retrospective of his work at CAPC Bordeaux.
Also featured: Kirsty Bell traces the architecturally-based painting of Katharina Grosse and Paul Teasdale unpicks the lost materials and found objects in the sculptures of Alexandra Bircken.
In the front section: Jan Kedves talks with Dr. Stefan Kraus, the director of Kolumba in Cologne, about Catholic curating and the museum’s significant collection of Paul Thek works; Bert Rebhandl writes on the Paradies trilogy of films by Ulrich Seidl; Pablo Larios visits the Berlin apartment, studio and now museum dedicated to the life and work of Jeanne Mammen. In our regular series ‘Logistics’ Olaf Holzapfel takes us on the knotted journey behind his hay paintings and for ‘In a Word’ Lothar Hempel and Mathilde Rosier explore ‘Karneval’.
Other highlights of the issue include: focuses on the work of Miriam Böhm, Verena Dengler and Nora Schultz; plus for ‘Das Ding’, photographer Elfie Semotan picks an object of special significance to her: A Cup of Tea.
The issue features 20 reviews from exhibitions in Germany, Austria and Switzerland including Henry Flynt at the Kunstverein für die Rheinlande und Westfalen, Dusseldorf; Sturtevant at Kunsthalle Zurich; Peter Piller at Capitain Petzel, Berlin and Michaël Borremans at Bawag Contemporary, Vienna. As well as reviews from Bielefeld, Bristol, Cologne, Geneva, Hamburg, Krems, Munich, Stuttgart and Weimar.
And for our new series ‘Tendenz’, Kolja Reichert asks if the recent proliferation of YouTube videos in exhibitions automatically turns them into art works.
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