Issue 13
Mar – Apr 2014

Issue 13 of frieze d/e looks to the Rhineland and Benelux region. The concentration of art institutions in the Rhineland and Benelux countries makes it unlike any other region in the world. Eight artists, critics and curators from across the area discuss its unique combination of competition and collaboration

Brigitte Kölle and Lynda Morris reflect on how Konrad Fischer and other Rhineland and Benelux gallerists introduced Conceptual art to Europe.

Also featured: Anna Gritz charts the performances of Gerry Bibby—plus his specially commissioned artist project; and Christy Lange considers the miracle of depth in the experimental photography of Ketuta Alexi-Meskhishvili.

From this issue

Do three recent German museum shows suggest a haptic antidote to our screen-based lives?

BY Kirsty Bell | 27 FEB 14

Endings and beginnings in Berlin

BY Christy Lange | 27 FEB 14

American comics, Russian Suprematism and German philosophy: welcome to the world of Andy Hope 1930

BY John C. Welchman | 26 FEB 14

Museum Ludwig, Cologne

BY Jörg Scheller | 26 FEB 14

Social streaming

BY Kito Nedo | 26 FEB 14

For this regular series, artist Michaela Meise discusses her affinity to architect Ferdinand Kramer

BY Pablo Larios | 26 FEB 14

KW Institute for Contemporary Art, Berlin

BY Dominikus Müller | 25 FEB 14

An essay by Brigitte Kölle on the crucial but overlooked role of Konrad Fischer and other Rhineland and Benelux gallerists who brought Conceptual art to Europe

BY Brigitte Kölle | 25 FEB 14

From latex printing to art restoration: Markus Hoffmann of renowned Dusseldorf photo lab Grieger takes us through the company’s processes

BY Markus Hoffmann | 25 FEB 14

Migros Museum für Gegenwartskunst, Zürich

BY Adam Jasper | 24 FEB 14

Why has the exhibition ‘Prospect 68’ been overlooked?

BY Lynda Morris | 24 FEB 14

Austrian band Ja, Panik’s utopian Esperanto

BY Klaus Walter | 24 FEB 14

The density of art institutions in the Rhineland and Benelux region is exceptional. We asked an artist, a musician, an art critic and a number of museum directors and curators from the region what the benefits and drawbacks of this landscape are for exhibition makers and audiences alike

BY Noemi Smolik | 23 FEB 14

How German-language cinema is joining the global horror boom

BY Bert Rebhandl | 23 FEB 14

Ketuta Alexi-Meskhishvili’s images conjure depth from the flat surface of photography

BY Christy Lange | 22 FEB 14

Dutch sculptor and mask designer Rein Vollenga shares some favourites from his archive of images

BY Rein Vollenga | 22 FEB 14

Galerie Esther Schipper

BY Lotte Everts | 21 FEB 14

Staging Martin Kippenberger’s turbulent biography

BY Jörg Scheller | 21 FEB 14

Define the relationship

BY Pablo Larios | 21 FEB 14

Van Horn, Düsseldorf

BY Timotheus Vermeulen | 20 FEB 14

Something else, all the same

BY Timotheus Vermeulen | 20 FEB 14

Rita McBride explains her ten-point manifesto for the Dusseldorf Art Academy

BY Jan Kedves | 20 FEB 14

Inhabiting the roles of collaborator and critic, Gerry Bibby’s performative projects shine a light on the hidden workings of institutional settings

BY Anna Gritz | 19 FEB 14

Gregor Podnar, Berlin

BY Mark Prince | 18 FEB 14

Kunstmuseum, St. Gallen

BY Aoife Rosenmeyer | 16 FEB 14

Neue Gesellschaft für Bildende Kunst, Berlin

BY Jan Kedves | 15 FEB 14

Galerie Esther Donatz

BY Gürsoy Doğtaş | 14 FEB 14

Grazer Kunstverein

BY Vitus Weh | 13 FEB 14

MMK Museum für Moderne Kunst

BY Kathleen Rahn | 12 FEB 14

Kerstin Engholm Galerie, Wien

BY Maximilian Geymüller | 11 FEB 14

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

BY Candida Höfer | 11 FEB 14

Galerie Vera Munro, Hamburg

BY Jens Asthoff | 09 FEB 14

Beyond techno. The many sides to Berlin’s PAN records

BY Abi Bliss | 10 DEC 13