Issue 6
Autumn 2012

The 6th issue of frieze d/e has a special focus on painting.

Mark Prince considers Stella‘s concept of ‘working space’ by asking: ‘Is the space of painting made by abstraction, illusion or the sculptural qualities of the canvas?’ In a companion piece Prince interviews Stella and artist Monika Baer.

Susanne von Falkenhausen and frieze d/e editor Jennifer Allen contribute two extensive reviews.

Also featured in issue 6: Luca Cerizza tests the appropriation of mass media and popular culture in the works of Phil Collins; Thibaut de Ruyter takes a closer look at the photographs of Seiichi Furuya; and Quinn Latimer examines Latifa Echakhch‘s strategies to turn everyday objects into abstractions through destruction and displacement.

From this issue

Fondation Beyeler & Schirn Kunsthalle & Liebieghaus

BY Dominikus Müller |

Is the space of painting made by abstraction, illusion or the sculptural qualities of the canvas?

Galerie Melike Bilir

BY Wes Hill |

On the occasion of his retrospective at Kunstmuseum Wolfsburg, Frank Stella talks about illusionism, abstract expressionism and the inevitable mechanics of gesture in painting

Kerstin Engholm Galerie

BY Maximilian Geymüller |

Monika Baer talks about her approach to painting’s surfaces, which teeter between anti-illusionism and illusionism, tactile and optical qualities, real holes and key holes

Phil Collins embraces mass media and popular culture, only to unsettle the stereotypes they produce

BY Luca Cerizza |

Seiichi Furuya captured a person and a country destined to disappear. While reorganizing his archive, the photographer discovered a new set of timeless subjects

BY Thibaut de Ruyter |

Musée D’art Moderne et Contemporain

BY Samuel Gross |

Latifa Echakhch uses destruction and displacement to turn everyday objects into abstractions

BY Quinn Latimer |

Figge von Rosen Galerie

BY Noemi Smolik |

On Abstraction and Destruction

BY Jennifer Allen |

Galerie Gregor Staiger

BY Gabrielle Schaad |

Is the art world too exclusive?

BY Jan Verwoert |

Haus der Kulturen Welt

BY Andreas Schlaegel |

Jörg Heiser speaks with Eduard Pomeranz about exhibiting his collection at Vienna’s Jewish Museum

The future of Zurich’s Löwenbrau Complex – with its mix of public institutions and commercial galleries – is finally secure after two years of redevelopment at the site

BY Max Glauner |

Gesellschaft für Aktuelle Kunst

BY Cynthia Krell |

The rise of a queer hip hop genre: New Orleans Sissy Bounce

BY Jan Kedves |

Galerie Meyer Kainer

BY Daniel Horn |

Philip Scheffner’s work stands for a new wave of German political documentary. His latest film Revision restores the history of two refugees who died under mysterious circimstances

BY Bert Rebhandl |

Langen Foundation

BY Kito Nedo |

In the face of extinction and genetic manipulation, is it time to change the way we classify living organisms?

BY Tue Greenfort |

Work, Paint, Ask Questions

BY Dominikus Müller |

Eavesdropping, Sticking and Falling Down

BY Raphael Gygax |

Military strategies, insults and Arts & Crafts

BY Pablo Larios |

documenta 13 – Review

BY Jennifer Allen |

Judith Hopf chooses a single object of special significance

BY Judith Hopf |

Anselm Reyle on his collaboration with Franz West on their exhibition Stolen Fantasy which took place last spring at the Schinkel Pavillon

in Berlin

BY Jennifer Allen |