Issue 9
Apr - May 2013

The April/May issue of frieze d/e turns its attention to Berlin, posing the question: ‘does Berlin need a new art school?‘ Surveying 30 of Berlin’s leading teachers, artists and writers, including Thomas Demand; Kuehn Malvezzi Architects; Monica Bonvicini and Tom Holert, frieze d/e also invites architects and artists to present their ideas of what a new art school might look like.

Three generations of feminism: An edited conversation, produced by Michaela Melián, between writer Silvia Bovenschen and artist Sarah Schumann, two of the main protagonists of the controversial exhibition Künstlerinnen international 1877–1977 that took place at Berlin’s Charlottenburg Castle in 1977. Plus, interviews with Melián herself and the feminist artist collective ff on the past 40 years of feminism and art in Germany.

Also featured in the issue: Jörg Heiser writes on the dark yet humourous paintings of Norbert Schwontkowski; Sarah James analyzes the photographic practice of Erwin Blumenfeld, from his surrealist photomontages to his New York fashion shoots; Martin Herbert examines the tactics and methods in the politically charged work of Natascha Sadr Haghighian and Lyra Kilston traces the German legacy behind of 1960s proto-hippie movement the ‘LA Nature Boys‘.

From this issue

Galerie Buchholz

BY Pablo Larios |

Kunsthalle Bern

BY Kito Nedo |

MAK – Museum für Angewandte Kunst

BY Franz Thalmair |

A survey including statements and sketches from 30 contributors

BY frieze d/e |

For this series frieze d/e asks an artist to submit a visual response to a recent exhibition. Andreas Siekmann reflects on the recent show Annette Wehrmann. Gehirn und Geld in the Hamburger Kunsthalle

BY Andreas Siekmann |

From his early Dada and Surrealist photomontages to his later New York fashion shoots, Erwin Blumenfeld insistently parodied objects of desire

BY Sarah E. James |

Galerie Reinhard Hauff

BY Daniel Pies |

In 1977 a groundbreaking survey exhibition of female artists, Künstlerinnen International 1877–1977, opened at Berlin’s Schloss Charlottenburg. The show was quickly met with a hostile reception before being just as quickly forgotten – even in the annals of feminist art history.

In 2012, artist and musician Michaela Melián made a video installation featuring a conversation with artist Sarah Schumann and writer Silvia Bovenschen, who were instrumental in realizing the exhibition. Here, frieze d/e publishes an edited transcript of their conversation.

Accompanying it are interviews with Melián herself and with three members of the feminist group ff: artists Mathilde ter Heijne, Antje Majewski and Juliane Solmsdorf. Looking back today, how important was that show? Over the past four decades, what has changed in the relationship between feminism and art?

BY frieze d/e |

Cosmic comedy, human sludge and the tragic-ridiculous: the paintings of Norbert Schwontkowski

Natascha Sadr Haghighian’s works record and refract the mechanisms of power

BY Martin Herbert |

Christine König Galerie

BY Vitus Weh |

Patterns, relations and planes of reference

BY Kari Rittenbach |

Kunstverein Langenhagen

BY Cynthia Krell |

Painting, poetry and measuring movement

BY Jennifer Allen |

Multicoloured Modernism and sci-fi suburbia

BY Quinn Latimer |

Tracing the ideas that travelled from Germany to the deserts of Southern California, and, eventually, to define the spirit of 1960s counterculture. The remarkable story of the LA Nature Boys

BY Lyra Kilston |

Galerie Eva Presenhuber

BY Raphael Gygax |

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

BY Carsten Nicolai |

Galerie Michael Janssen

BY Sara Stern |

Galerie Hubert Winter

BY Yuki Higashino |

For 20 years, filmmaker Heinz Emigholz has been documenting icons of Modernist architecture

BY Bert Rebhandl |

Sentimentality and the city

BY Pablo Larios |

In this series, frieze d/e asks artists to discuss the logistical background to their works. Bettina Pousttchi explains why she travels around the world photographing clocks

BY Bettina Pousttchi |

Tracing the vexed routes of global fashion exchange

BY Esther Buss |

In this new series, frieze d/e asks an artist to discuss ties to a past figure’s work. Here, Tacita Dean explains her connection to Robert Walser

BY Pablo Larios |

A ‘laboratory of mixed emotions’. The uncanny world of Meg Stuart’s dance pieces

BY Astrid Kaminski |

Artist Aleksandra Domanović picks out her favourites from the ebb and flow of culture

BY Aleksandra Domanović |

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

BY Geeta Dayal |