Issue 14
May 2014

Issue 14 of frieze d/e looks back to the 1990s Net art scene in Berlin. In a rare interview, the artist and former club owner Daniel Pflumm talks about founding the legendary Elektro club and its pioneering TV channel, the linguistic pleasures of creating online domains and his continued efforts to take the Internet to absurd lengths.

Josephine Bosma and Stefan Heidenreich chart the rise of Net art and Berlin’s role in providing shared spaces for artists and activists.

Also featured: Yngve Holen takes us through his unlikely experiments with 3D printing, which include scanning the nose of an Airbus A380 with a Wii console. Plus, actor and theatre director Herbert Fritsch reveals why he does not like working to scripts.

From this issue

Art Institute of Chicago

BY Patrick Armstrong |

Daniel Pflumm was a central figure in the cultural scene of 1990s Berlin. Pflumm rarely gives interviews. Jan Kedves and Dominikus Müller spoke with him

BY Jan Kedves |

Losing yourself in style

BY Dominikus Müller |

Zentrum für Kunst und Medientechnologie, Karlsruhe

BY Jörg Scheller |

Essays by Josephine Bosma and Stefan Heidenreich chart the beginnings of the Net art movement and the importance of Berlin in connecting net activism with the burgeoning artistic networks of the time – both on- and offline

BY Stefan Heidenreich |

Actor and theatre director Herbert Fritsch on his love of art – from Jackson Pollock to Dieter Roth – and not using scripts

BY Jan Kedves |

Founded in 1997, the Berlin-based print magazine De:Bug focused on ‘life’s electronic aspects’, covering techno, programming and net criticism. April 2014 saw the last print issue of the influential magazine. Writer and DJ Sascha Kösch, aka Bleed, co-founder and editor-in-chief from May 2012, talks to Jan Kedves about why De:Bug folded, tech-euphoria and why he’s bored of Post-Internet art

BY Jan Kedves |

For this regular series, artist Yngve Holen explains the processes behind his experiments with 3D scanning and printing

BY Pablo Larios |

Capitain Petzel

Searching, Finding, Getting Lost

BY Andreas Schlaegel |

Nailing jelly to a wall: Diedrich Diederichsen’s attempt to define Pop music

BY Thomas Hübener |

Neue Alte Brücke

Born in Berlin in 1888, Hans Richter was a painter, filmmaker, organizer, curator and writer, but above all he was a radical changeling

BY Noemi Smolik |

Sex work in the service age: Tatjana Turanskyj’s new film Top Girl

BY Esther Buss |


BY Aoife Rosenmeyer |

Set design takes on a life of its own: the portals and parallel worlds of FORT

BY Kito Nedo |

Berlin-based musician Sasha Perera aka Perera Elsewhere shares some of the souvenirs she has collected on recent travels

BY Sasha Perera |

Kölnischer Kunstverein

BY Dominikus Müller |

In her cartoons and paintings Amelie von Wulffen draws up art world anxieties and painting’s subconcious

BY Laura McLean-Ferris |

On the closing of two influential project spaces in Basel

BY Fabrice Stroun |

Town planner Dieter Hoffmann-Axthelm on why Berlin needs to rethink its urban development strategy

BY Kito Nedo |

In Rimini Protokoll’s productions, real life appears theatrical, and theatre seems more like real life

BY Christy Lange |

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

BY Franz Ackermann |

Bonner Kunstverein

BY Noemi Smolik |

Galerie Eva Presenhuber

BY Anna Francke |

freymond-guth & co. fine ARTS

BY Aoife Rosenmeyer |

Shaken Foundations: The death of Vienna’s privately funded art institutions

BY Matthias Dusini |