Visual Art

Both, Frielinghaus’ and Speder’s visual art focuses on simple, traditional formats like drawings on canvas and paper. Even though they follow different approaches, Frielinghaus concentrating on the concept of the Square and Speder on the Present, their common ground can be found in the usage of direct, analog media.




Milo Frielinghaus, Untitled, 1987.
Lorina Speder, Ginza Tokio, 2017.
Lorina Speder, Roppongi Outside, 2019.
Milo Frielinghaus, Drip, 2019.
Milo Frielinghaus, Untitled, 1988.
Milo Frielinghaus, Fleck, 2019.
Lorina Speder, PS, 2019.