Issue 11
Sept - Oct 2013

In the 11th issue of frieze d/e Dominic Eichler unravels the work and persona of Isa Genzken.

Boris Groys considers the aesthetic theories of Wassily Kandinsky, developed during Kandinsky’s time teaching at the Bauhaus, and how they would later be applied to the design of prison cells in Spain.

Also featured: Curator, gallerist and collector René Block speaks with artist Maria Eichhorn about the importance of humour, friendship, Fluxus and music in a career spanning 50 years and Astrid Kaminski talks to US-born, German-based choreographer William Forsythe about ‘wrong’ kinds of comedy, philosophy in dance and brief bouts of weightlessness.

From this issue

In this series, frieze d/e looks at the logistics behind art works. Here, Michael Sailstorfer explains how he ‘reversed nature’ for Emscherkunst.2013

BY Michael Sailstorfer |

The quasi-documentaries of Viennese filmmakers Tizza Covi and Rainer Frimmel

BY Bert Rebhandl |

Why have art collaborations become so annoying?

BY Jan Kedves |

Artist Tobias Madison presents his selection of favourite publications

BY Tobias Madison |

With the 50th anniversary of the DAAD’s Artists-in-Berlin Programme this year, a visit to its most legendary artists’ apartment

BY Jan Kedves |

Helga Wretman’s Fitness for Artists TV revives the surprisingly long history of art and exercise

BY Jörg Scheller |

Ulf Poschardt’s love letter to the Porsche 911

BY Thomas Hübener |

For this regular series in frieze d/e, Berlin-based organist Cameron Carpenter discusses his affinities to glam

BY Jan Kedves |

On the occasion of her forthcoming retrospective at New York’s Museum of Modern Art, Dominic Eichler unravels Isa Genzken’s work and persona

BY Dominic Eichler |

Artist Karin Sander and social scientist Harald Welzer have known each other since Welzer exhibited Sander’s works as a gallerist in Hanover in the 1990s. In his most recent book Selbst denken. Eine Anleitung zum Widerstand (Thinking for Ourselves: a Manual for Resistance, 2013), Welzer calls for a move away from the ideology of economic growth, in light of world­­‑wide economic crises, calling instead for intelligent concepts for a ‘culture of reduction’. Intelligent reduction is exactly what Sander’s art engages with time and again. This conversation between Sander and Welzer, moderated by Jörg Heiser, includes a conceptual intervention by Sander.

While teaching at the Bauhaus, Wassily Kandinsky deepened his theory of art as a visual rhetoric conveying specific emotions – ideas that would later influence the design of prison cells in Spain

BY Boris Groys |

Gallerist, collector, curator and director René Block talks to artist Maria Eichhorn about ambition in art, the unexplored diversity of Fluxus and the importance of music in a career spanning 50 years

BY Maria Eichhorn |

The show of showing

BY Kolja Reichert |

In her collages, photographs, artist books and paintings, Özlem Altin explores the body at rest and the inanimate in action

BY Sara Stern |

Filling in the Blanks

BY Christy Lange |

Choreographer William Forsythe speaks to Astrid Kaminski about ‘wrong’ kinds of comedy, philosophy in dance and brief bouts of weightlessness

BY Astrid Kaminski |

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

BY Barbara Vinken |

55. Biennale di Venezia

BY Kirsty Bell |

Gabriele Senn Galerie

BY Vitus Weh |

Galerie Karin Guenther

BY Britta Peters |

The Museum of Contemporary Art

BY Jonathan Griffin |

Kunst-Werke – Institute for Contemporary Art

Museum für Gegenwartskunst

BY Laura McLean-Ferris |

Gesellschaft für aktuelle Kunst

BY Jens Asthoff |

Ursula Blickle Stiftung

BY Agnieszka Gratza |

How are historic exhibitions re-exhibited?

BY Jörg Heiser |

Bonner Kunstverein

Künstlerhaus Halle für Kunst & Medien (KM–)

BY Patricia Schmiedlechner |

Fondation Speerstra & Karma International

BY Katya García-Antón |