World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
SAT 12—4 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2012, English
Softcover, 222 pages, 24 x 29 cm
Published by
Roma / Amsterdam
WIELS / Brussels
$88.00 - Out of stock
From the early diametric abstraction to the recent series of silhouette paintings, passing through photographic works and ephemera never printed before, this book offers the most comprehensive gathering of Daan van Golden's work to date. It includes, moreover, a complete list of work, arranged by medium and chronologically, and the collections that hold them. Essays by Devrim Bayar, Sven Lütticken and Erik Thys. Published in collaboration with WIELS, Brussels.
Daniël (Daan) van Golden (1936-2017) was a Dutch artist, who has been active as a painter, photographer, collagist, installation artist, wall painter and graphic artist. He is known for his meticulous paintings of motives and details of everyday life and every day images. Daan van Golden developed his style in Japan in 1963. Having previously painted abstract-expressionistic works, between 1963 and 1965 in Japan he refined a technique that involved Japanese enamel paints and enabled him to give his works an unimagined colourfulness and presence. He began painting textile and paper patterns with extreme precision and at an almost meditative speed. His models included tablecloths, fabrics and packaging. He generally focussed on everyday items which he experienced in his surroundings, transferring them to an artistic context in his unique way and thereby unifying life and art. Van Golden is often linked with Pop Art or Minimal Art, but in fact his art hovered between all these tendencies and positions. It was frequently exhibited in the same context, to which he was considered to be formally suited. But at the same time, he clearly pointed up the limits of the respective stylistic trend.
2017, English
Softcover, 14 x 21.5 cm, 184 pages
Published by
Sternberg Press / Berlin
$39.00 $10.00 - Out of stock
In this collection of essays, art historian and critic Sven Lütticken focuses on aesthetic practice in a rapidly expanding cultural sphere. He analyzes its transformation by the capitalist cultural revolution, whose reshaping of art’s autonomy has wrought a field of afters and posts. In a present moment teeming with erosions—where even history and the human are called into question—Cultural Revolution: Aesthetic Practice after Autonomy reconsiders these changing values, for relegating such notions safely to the past betrays their possibilities for potential today.
Lütticken discusses practices that range from Black Mask to Subversive Aktion, from Krautonomy to Occupy, from the Wet Dream Film Festival in the early 1970s to Jonas Staal’s recently established New World Academy. Within these pages Scarlett Johansson meets Paul Chan, Walid Raad, and Hito Steyerl, and Dr. Zira from Planet of the Apes mingles with the likes of Paul Lafargue and Alexandre Kojève.
Design by Surface
2020, English
Softcover, 280 pages, 16.2 x 21.8 cm
Published by
Sternberg Press / Berlin
$54.00 $30.00 - Out of stock
Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of realizing a singularly different, more equitable future displaced by a belief that the future had already come to pass, limiting post-historical society to an uneventful life of endless accumulation. Today, amidst an abundance of neofuturisms, posthumanisms, futurologies, speculative philosophies and accelerationist scenarios, there is as well an expanding awareness of a looming planetary catastrophe driven by the extractionist logic of capitalism. Despite this return to the future, the temporal horizon of our present moment is perhaps more aptly characterized by the “shrinking future” of just-in-time production, risk management, high-frequency trading, and the futures market. In Futurity Report, theorists, historians, and artists address the precarious futurity of the notion of the future itself.
Texts by Eric C. H. De Bruyn, T. J. Demos, Haytham El-Wardany, Kodwo Eshun, Natascha Sadr Haghighian, Sven Lütticken, Silvia Maglioni, Pedro Neves Marques, Achille Mbembe, Doreen Mende, China Miéville, Ana Teixeira Pinto, Johannes Paul Raether, Felicity D. Scott, Kerstin Stakemeier, Graeme Thomson, Marina Vishmidt, Mckenzie Wark
2019, English / German
Softcover, 272 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
In the current issue of Texts on Art, "Literature," we explore the emergence of the genre of "autofiction": a field in literature that has been taken up between the formally distinct categories of fiction and autobiography. Annie Ernaux, Rachel Cusk, Deborah Levy, among others, whose works are exemplary in developing the form of writing in which the fictitious ego merges with the voices of others, where these voices are potentially in the social more generally.
ISSUE NO. 115 / SEPTEMBER 2019 "LITERATUR"
TABLE OF CONTENTS
PREFACE
BETWEEN YOU AND ME / A Correspondence on Autofiction in Contemporary Literature between Isabelle Graw and Brigitte Weingart
WOMAN AS SUBJECT OR EXEMPLARY OF HER KIND / A Conversation between Maija Timonen and Rachel Cusk
CLAUDE HAAS
ON - THE DEMISE OF AUTOBIOGRAPHY IN THE WHIRL OF AUTOFICTION. OR: REALITY TODAY
SURRENDER AS FREEDOM / Interview with Enis Maci by Aram Lintzel
PETER REHBERG
- QUEER AUTOFICTION AS BODY PROTOCOL
DIRK VON LOWTZOW
SOME QUESTIONS FOR LEÏLA SLIMANI
LEANDER SCHOLZ - LITERATURE OF WORKING-CLASS CHILDREN
JUTTA KOETHER -
WHEN YOU PAINT APPLES, DO YOU ALSO FEEL YOUR BREASTS AND KNEES BECOMING APPLES?
NEW DEVELOPMENT
EMPIRE OF ETHER / Colin Lang on the Advent of Drone Exhibitions
ROTATION
LIFE PRESERVER / Sven Lütticken on Alice Creischer’s “In the Stomach of the Predators: Writings and Collaborations”
KLANG KÖRPER
PROTO-WHATEVER-THIS-NEXT-PHASE-IS / Annika Haas über Holly Herndon in der Volksbühne Berlin und im Haus der elektronischen Künste Basel
REVIEWS
BLUE CUBES: VOLLGELAUFENE VOLUMEN / Diedrich Diederichsen über die 58. Biennale in Venedig
THE POWER OF NO / Eva Díaz on the Whitney Biennial 2019
GLOBAL SALE / Simon Baier über El Anatsui im Haus der Kunst, München
TO GIVE AND GIVE SUN / Övül Ö. Durmuşoğlu on Cecilia Vicuña at Witte de With, Rotterdam
FREE WILLY / Mikael Brkic on Jana Euler at Galerie Neu, Berlin
UNDERSTANDING THAT EVERYONE IS NOT UNDERSTANDING EVERYTHING / Gunter Reski über Heike-Karin Föll in den KW Institute for Contemporary Art, Berlin
CONSIDER NOT THE BIRD’S, BUT THE WORM’S VIEW / Adam Kleinman on Cian Dayrit at Nome Gallery, Berlin
KÜNSTLERIN SEIN / Georg Imdahl über Anna Oppermann in der Kunsthalle Bielefeld
SETTING THE RECORD STRAY / Ana Teixeira Pinto on “Straying from the Line” at Schinkel Pavillon, Berlin
CHICAGO, NOW! / Hans-Jürgen Hafner über Gustave Caillebotte in der Alten Nationalgalerie, Berlin
HIDE AND SEEK / Magnus Schaefer on Lydia Ourahmane at Bodega, New York
WE NEVER KNOW HOW HIGH WE ARE / Thomas Groetz über Mayo Thompson in der Galerie Buchholz, Berlin
INVOLUNTARY TRACES / Daniel Ricardo Quiles on Jonathas de Andrade at the Museum of Contemporary Art, Chicago
POETISCHE SEZIERUNGEN / Isabel Mehl über Cana Bilir-Meier im Hamburger Kunstverein
CAVEMAN BLUES / Saim Demircan on Edith Karlson and Dan Mitchell at Temnikova & Kasela, Tallinn
DIE MEISTERIN / Stefan Neuner über Lotte Laserstein in der Berlinischen Galerie
STAGING FEMINISM / Luisa Lorenza Corna on “The Unexpected Subject: 1978 Art and Feminism in Italy” at FM Centro per l’Arte Contemporanea, Milan, and “Doing Deculturalization” at Museion, Bolzano
WAHRNEHMUNG IST VERSCHIEBBAR / Christina Irrgang über Bea Schlingelhoff in der Galerie Max Mayer, Düsseldorf
GRIT AND VITALITY / Daniel Sturgis on Joan Snyder at Blain Southern, London
NACHRUFE
LINDA BILDA (1963−2019)
by Silvia Eiblmayr
AGNÈS VARDA (1928–2019)
by Jennifer Stob
MICHEL SERRES (1930−2019)
by Lorenz Engell
KLAUS BUSSMANN (1941–2019
by Ulrike Groos and Hans Haacke
EDITION
BIRGIT MEGERLE
STERLING RUBY
2019, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
The sea has inspired artists, writers, and thinkers for centuries; but what has changed in our view of the sea since the canonical seafaring novels and paintings of the 19th century? In the June issue of Texte zur Kunst, dedicated to the mysteries and violence of the deep, we examine the sea from a media-theoretical perspective as well as from the perspective of current political and ecological catastrophes. For this issue, the theoretical texts are punctuated by photo essays by four artists who have dealt with the sea as a biosphere as well as a transit system for container vessels. In short, we realize just how important it is to look at the sea again, and again.
ISSUE NO. 114 / JUNE 2019 "THE SEA"
TABLE OF CONTENTS
PREFACE
BERNHARD SIEGERT
THE SINKING OF A STEAMBOAT / Robert Carrick’s, William Suhr’s, David Bull’s, and J. M. W. Turner’s “Rockets and Blue Lights” (1840–2003)
NADJA ABT -
SEAWOMEN
ASHNA ALI
- MEDITERRANEAN BORDERLAND
SUSANNE M. WINTERLING -
CODE AND POETRY OF THE SEA
IN THE THICKNESS OF THE CROSSING / Challenging the Liquid Violence of Borders in the Mediterranean – An interview with Charles Heller
MANDLA REUTER
- MOUNTAIN WATER
D. GRAHAM BURNETT
JETSAM
HIRA NABI
- HOW TO DISMANTLE A SHIP IN NINE STEPS
FRANZISKA BRONS
- THE SEA: MEDIUM AND MILIEU
LIEBE ARBEIT KINO
FOR A PANAFRICAN PAST AND FUTURE! / Michaela Ott über das Jubiläum des subsaharischen Filmfestivals FESPACO in Ouagadougou
ROTATION
DIE UNANGENEHME VERWANDTE / Vojin Saša Vukadinović über „Last Days at Hot Slit. The Radical Feminism of Andrea Dworkin“ von Johanna Fateman und Amy Scholder (Hg.)
REVIEWS
A LEGIBLE FUTURE / Jeffrey West Kirkwood on “The New Alphabet” at Haus der Kulturen der Welt, Berlin
LEERSTELLEN IN DER VERGANGENHEIT, RISSE IN DER GEGENWART / Sven Beckstette über Dierk Schmidt im Museo Nacional Centro de Arte Reina Sofía, Madrid
SUBJECTS OF MADNESS: NANOTYRANNUS, RAW CHAMPAGNE, AND BREASTS LIKE CAMELLIAS / Nina Prader on “Flying High: Women Artists of Art Brut” at the Kunstforum Vienna
AFROATLANTISCHE GESCHICHTEN / Frauke Zabel über Rubem Valentim im Museu de Arte de São Paulo
SYSTEMIC AESTHETICIZATION / Sven Lütticken on Pierre Huyghe at the Serpentine Gallery, London
CIVILIZATIONAL ENTANGLEMENTS / Rike Frank on Rossella Biscotti at the daadgalerie, Berlin
PIPELINE DREAMS / Benjamin Thorel on Lucie Stahl at Freedman Fitzpatrick, Paris
REALITÄTSEFFEKTE / Hannes Loichinger über Jay Chung und Q Takeki Maeda im Kölnischen Kunstverein
FAIL BETTER / Colin Lang on Stefanie Heinze at Capitain Petzel, Berlin
ALLE KÜNSTLER*INNEN LÜGEN / Michael Franz über KP Brehmer im Neuen Museum in Nürnberg
THE DISCREET CHARM OF VANISHING / Estelle Nabeyrat on Lourdes Castro at Musée régional d’art contemporain Occitanie / Pyrénées-Méditerranée, Sérignan
BIZARRE LOVE TRIANGLE / David Bussel on Ghislaine Leung at Chisenhale Gallery, London
STABILE UNGLEICHGEWICHTE / Gürsoy Doğtaş über Nil Yalter im Museum Ludwig, Köln
BEST SINGER-SONGPAINTING / Gunter Reski über Norbert Schwontkowski bei Contemporary Fine Arts, Berlin
HERE’S AL / Eli Diner on Allen Ruppersberg at the Hammer Museum, Los Angeles
BATHETIC FALLACY / Alexandra Symons Sutcliffe on “A Fatal Attraction” at Galerie Barbara Weiss, Berlin
OBITUARIES
OKWUI ENWEZOR (1963–2019) / by Ulrich Wilmes, Ute Meta Bauer and Markus Müller, with an introduction by Isabelle Graw
CAROLEE SCHNEEMANN (1939–2019) / by Pamela M. Lee
KARL LAGERFELD (1933−2019) / von Barbara Vinken
EDITION
JANA EULER
HELEN MARTEN
2018, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
Issue # 112 of Texte zur Kunst, “Noise/Silence,” focuses on these two sonic extremes that define the boundaries of the audible, framing all possible sonic expressions therein. Given the emergence of sound as its own field of inquiry within the arts, and the development of newer media forms for sound production, can we still reliably argue that noise and silence are open to artists and musicians today in the ways that they were for Luigi Russolo in his 1913 manifesto, “The Art of Noises;” or, in John Cage’s writings on silence? In our analysis and judgment on the contemporary significance of noise and silence within sound and music, we are also questioning the potential for radical gestures with sound tout court—the all or nothing. What is left for music and sonic interventions today? What kinds of subversive noises can be marshaled against the deafening silence? And where, if anywhere, can silence provide a shelter from the relentless noise from the outside? We assembled a group of media historians and philosophers to give us a theoretical orientation in this shifting sonic landscape, and also asked four artists/musicians to weigh in on the possibility for radical gestures in their own practice. The results offer a much-needed revision of the terms for sound in the arts today.
Issue No. 112 / December 2018 "Noise/Silence"
Table Of Contents
Forward
Preface
Rolf Grossmann - Silence, Sound, Noise / Aesthetic And Media-Technological Observations
Ute Holl - Excavating Silence
Fiona Mcgovern - Curating Sound
Sound Rules / Colin Lang And Cevdet Erek In Conversation
Michaela Melián - Electric Ladyland
Andrea Neumann - Production By Subtraction
Arto Lindsay
Puce Moment
New Development
Political Myth – Prefiguration – Brexit / Angus Nicholls On The Mythic Structures Behind Brexit
Rotation
Metabolismen Der Moderne / André Rottmann Über „Entgrenzter Formalismus. Verfahren Einer Antimodernen Ästhetik“ Von Kerstin Stakemeier
Migration Und Film Denken / Nanna Heidenreich Über Brigitta Kusters „Grenze Filmen“
The Third Persona / Amanda Schmitt On Ben Lerner And Anna Ostoya’s “The Polish Rider”
Klang Körper
Figuring Space / Steven Warwick On Catherine Christer Hennix
Reviews
This Is The Rented Moment / Nicolás Guagnini On Jack Smith At Artists Space, New York
Konzeptueller Fehlschlag / Fabio Cypriano Über Die 33. Biennale In São Paulo
Enjoy Your Sinthome / Sven Lütticken On Dora García At The Reina Sofía, Madrid
Artists Must Begin Helping Themselves / Pedro De Llano On Stephan Dillemuth At A Certain Lack Of Coherence, Porto
Der Traumzauberbaum / Inka Meißner Über Amy Lien & Enzo Camacho Im Kunstverein Freiburg
Burnt By The Sun / Colin Lang On Katarina Sieverding At Manifesta 12, Palermo
Star Alliance / Alida Müschen Über Ei Arakawa Im Kunstverein Für Die Rheinlande Und Westfalen, Düsseldorf
Canon Fodder / Julia Pelta Feldman On Charline Von Heyl At Petzel Gallery, New York
Manspainting / Georg Imdahl Über Balthus In Der Fondation Beyeler, Basel
Case Of Urgency / Christina Catherine Martinez On Gerry Bibby At O-Town House, Los Angeles
Meshes Of The Platform Age / Jakob Schillinger On Loretta Fahrenholz At Mumok, Vienna
Re-Call, Re-Take, Represent / Rattanamol Singh Johal On Vivan Sundaram At The Kiran Nadar Museum Of Art, New Delhi And Haus Der Kunst, Munich
Grasping History / Frauke Zabel Über Karin Schneider Im Kunstverein Nürnberg
Stacked Cards / Ana Vogelfang On Pablo Accinelli At Malba, Buenos Aires
Computerkunst Jenseits Des Computers / Karel Císař Über „1968:Computer.Art“ In Brno
Abstraction Of The Body / Melissa Gordon On Amy Sillman At Camden Arts Centre, London
Feministischer Dekolonialismus Avant La Lettre / Michaela Wünsch Über Theresa Hak Kyung Cha Im Kulturzentrum Der Koreanischen Botschaft, Berlin
Where The Bodies Are Buried / Ana Teixeira Pinto On Roee Rosen At The Centre Pompidou, Paris
Chez Michel / Anke Dyes Über Henrik Olesen Im Schinkel Pavillon, Berlin
Obituary
Helena Almeida (1934–2018) / João Ribas
Klaus Herding (1939−2018) / Tom Holert
Edition
Dominique Gonzalez-Foerster
Jeanette Mundt
Wolfgang Tillmans
2018, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
The September issue of Texte zur Kunst focuses on Amerika (U.S. America principally): the land, the idea, and all that seems to come with it. What is Amerika today other than a contradiction between brute political reality and a largely fictional self-image, where fiction says as much about fact as “alternative facts” say about the truth? Within this contradiction, this issue tries to imagine modes of engaging with the current political machinery without opting for the one-dimensional dive into micropolitics that has plagued much recent activist discourse. The Trump regime has introduced a new form of politics whose tactics are closer to artistic practice—inventing parallel truths and questioning facts—than anything like traditional governance. As such, those familiar with art are in a unique position to offer an analysis of the specific forms that define contemporary politics in Amerika. We have thus commissioned artists and critics to come up with new strategies for analyzing the rampant barbarism, resisting the urge to sink into paralysis and defeat in the face of the endless onslaught.
Issue No. 111 / September 2018 "America"
Table Of Contents :
Foreword
Prefaces
Colin Lang
- The Horror, Vacui
Ken Okiishi -
Liberty and Justice For All, Not Us
Aria Dean -
Trauma And Virtuality
Letter To A Friend In New York / By Isabelle Graw
The Golden Hoard / Conversation With Andrea Fraser
Sina Najaf - i
The American Dream State
Robert F. Reid-Pharr -
What We Dare Not Remember
New Development
Is Space The Place? / Eva Díaz On Feminist Futures In The Anthropocene
Love Work Cinema
Between Bildersturm And Artistic Research / Rainer Bellenbaum About Films From The Years Around 1968 In The Historical Program Of The Kurzfilmtage Oberhausen
Reviews
Decolonialized Narrative In The National Art Temple / Susanne Von Falkenhausen On "Hello World" At Hamburger Bahnhof, Berlin
That Fluctuating Moment / Jesi Khadivi At The 10Th Berlin Biennale
The Silent Ship / Övül Ö. Durmusoglu On Manifesta 12 In Palermo
Love And Salt / Adrienne Rooney On Adrian Piper At The Museum Of Modern Art, New York
Tracks Of Disappearance / Tobi Maier About Bruce Nauman In The Schaulager, Basel
Man In The Mirror / Dan Kidner On "Picasso 1932 - Love, Fame, Tragedy" At Tate Modern, London
In The Bure Of The Circle / Marietta Kesting About Raster-Noton In The Kunstbau Lenbachhaus, Munich
Looking But Not Seeing? / Darla Migan On Faith Ring Gold At Weiss Berlin
Mad / Ame / Jenny Nachtigall About Jutta Koether At The Museum Brandhorst, Munich
If You Are Once Big / Nadja Abt About Philip Wiegard At Between Bridges, Berlin
Marked By Trade / Sven Lütticken On "Trade Markings" At The Van Abbemuseum, Eindhoven
Amazone Retired / Tina Schulz On Astrid Klein In The Falckenberg Collection, Hamburg
Born To Die / Colin Lang On Jeanette Mundt At Société, Berlin
Limitations Of Utopia / Christina Irrgang On Cyril Lachauer In The Berlinische Galerie, Berlin
Hereditary Peers / Saim Demircan On Luke Willis Thompson At Kunsthalle Basel
Zoology Of The Falls / Niklas Lichti On Peter Wächtler With Lars Friedrich, Berlin
Below The Surf / Steven Warwick On Georgie Nettell At The Kunstbunker Forum For Contemporary Art, Nuremberg
The Hour Of The Historics / Ariane Müller About Valie Export At The Neuer Berliner Kunstverein
Foreign Powers / Johanna Burton On Zoe Leonard At The Whitney Museum Of American Art
Committee Criteria / Kerstin Stakemeier On Henrike Naumann At The Museum Abteiberg, Mönchengladbach
Related Practices / Sandra Neugärtner On Anni Albers In The Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Term (s) Of Endearment / Kathi Hofer On "Milieu" At After The Butcher, Berlin
Obituary
Claude Lanzmann (1925-2018)
Edition
Cecily Brown
Mark Leckey
2017, English
Softcover, 224 pages, 17.3 x 22 cm
Published by
MUDAM / Luxembourg
Sternberg Press / Berlin
$38.00 - Out of stock
Contributions by Carl Andre, Charles Baudelaire, Walter Benjamin, Barbara Bloemink, Jan Boelen, Louise Bourgeois, Sheldon Cheney and Martha Candler Cheney, Alex Coles, Anthony Dunne and Fiona Raby, Hal Foster, Sigmund Freud, Dan Graham, Isabelle Graw, Sebastian Hackenschmidt and Dietmar Rübel, Graham Harman, G. W. F. Hegel, Martin Heidegger, Dave Hickey, Matthew Higgs, Donald Judd, Immanuel Kant, Frederick J. Kiesler, Sven Lütticken, Alessandro Mendini, W. J. T. Mitchell, Jasper Morrison, Bruno Munari, Robert Nickas, Alice Rawsthorn, Jeff Rian, Richard Rinehart, Anthony Vidler
This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time. Writers from different fields explore how things interact with materials, structures, and production processes while defining and registering the intangible qualities of the material world. Each author considers the different relationships between the context of a thing and its thingness, describing the ways in which things and ideas intersect.
Copublished with MUDAM Luxembourg
Design by Florence Richard
2017, English
Softcover, 240 pages, 21 x 23 cm
Published by
Whitechapel / London
The MIT Press / Massachusetts
$55.00 $30.00 - Out of stock
The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects. The self-destructing artwork extinguishes art’s fixity as arrested form and ushers in the ephemeral and contingent "open work."
This anthology explores artworks that convey the threat of destruction an how they have disrupted the perceived integrity of built structures and institutions. Artistic acts of iconoclasm or risk to the self have raised consciousness of authoritarian oppression. More understated works explore the theme of destruction in armed conflict, media violence, and threats to the environment. These text make up the first collection to be focused systematically on destruction in modern and contemporary art.
Artists surveyed include
Ai Weiwei, John Baldessari, Monica Bonvicini, Alexander Brener, Stuart Brisley, Douglas Gordon, Huang Yong Ping, Enrique Jezik, Milan Knizak, Paul McCarthy, Piero Manzoni, Gordon Matta-Clark, Gustav Metzger, Otto Mühl, Yoko Ono, Raphael Montañez Ortiz, Petr Pavlensky, William Pope.L, Walid Raad, Arnulf Rainer, Robert Rauschenberg, Carolee Schneemann, Song Dong, Jean Tinguely, Wolf Vostell
Writers include
Alain Badiou, Walter Benjamin, Horst Bredekamp, Carolyn Christov-Bakargiev, Medina Cuauthémoc, Dario Gamboni, Richard Galpin, Caleb Kelly, Bruno Latour, Sven Lütticken, Antonio Negri, Sophie O’Brien, Kristine Stiles, Jennifer Walden
About the Editor
Sven Spieker is Professor of Germanic and Slavic Studies at the University of California, Santa Barbara, and editor of ARTmargins. His books include The Big Archive: Art from Bureaucracy (MIT Press).
2014, English
Softcover (w. dust jacket), 244 pages, 107 color and 11 b/w ills., 12.6 x 21.6 cm
Published by
Sternberg Press / Berlin
Van Abbemuseum / Eindhoven
IMA / Brisbane
$40.00 - Out of stock
Edited by Nick Aikens
Texts by Nick Aikens, Karen Archey, Thomas Elsaesser, Pablo Lafuente, Sven Lütticken, David Riff, Hito Steyerl, Ana Teixeira Pinto
Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion.
Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images.
Copublished with Van Abbemuseum, Eindhoven, and Institute of Modern Art, Brisbane
Design by Bardhi Haliti
2018, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
The March issue of Texte zur Kunst considers art’s relation to rules — or rather, the exceptions to them that art and its agents seem to claim. How can we speak of rules in the context of art, where transgressions are lauded even while traditional hierarchies (class, gender, race, sexuality) continue to assert their influence? And would we demand anything less of art than the promise of disobedience, rule breaking both in terms of formal restrictions and normative regulations? Therefore, in this issue we ask: by what rules does the art world play, and how are transgressions made visible/invisible therein?
ISSUE NO. 109 / MARCH 2018 "ART WITHOUT RULES?“
Table Of Contents
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$30.00 - In stock -
In art historical and art critical texts, the concept of “idiom” – an expression or mode of speaking that cannot be translated – is frequently used, even if it is rarely spoken of as such. TZK issue 108 explores how the idea of “idiom” might allow us to coherently engage with art's disparate materialist and iconographic connections at a time when the vitality of historical Western-centric cannons are fading (see: Documenta 14) and the traditional relations within and among artistic systems are ever less self-evident. The "Idiom" issue of TZK asks: What languages does art speak?
ISSUE NO. 108 / DECEMBER 2017 "IDIOM - LANGUAGES OF ART“
Table Of Contents
Preface
Susanne Leeb - Idioms: The Minor "A"s Of Art
Artist's Choice
Mirjam Thomann - Chapter 3: Women And Space
Anja Kirschner - In A Manner Of Speaking
Michael Dean
Linda Stupart - Didacticore: An Artist's Statement
Bouchra Khalili - Mother Tongue
Lawrence Abu Hamdan - Hear, Hear
Giovanna Zapperi - Body Of Evidence, Gestures Of Dysfunction / Technology As Practice In The Work Of Natascha Sadr Haghighian
Yvonne Volkart - From Trash To Waste / On Art's Media Geology
Monica Juneja - To Enter The Image / The Performative Self As Idiom*
Dieter Lesage - Research And Form / On "Artistic Research" And Its Aesthetic
Sven Lütticken - Modernist Memories / On The Conteporaneity of Günther Frg
Bildstrecke
Philipp Gufler
Maybe Devotion Is The Only Thing I Can Offer You
New Development
Once More With Feeling / Philipp Wüschner Über Das Symposium „Image Testimonies – Witnessing In Times Of Social Media“
Cloudism / Library Stack On Blockchain Archives And Library Futures
Liebe Arbeit Kino
Lauf, Genosse! / Madeleine Bernstorff Über „Cours, Cours, Camarade, Le Vieux Monde Est Derrière Toi. Das Kino Von Med Hondo“ Im Kino Arsenal, Berlin
Glück Auf! / Esther Buss Über Ben Russells „Good Luck“, 70. Locarno Festival
Reviews
Handlungsräume / Sophie Goltz Über „Radical Women“ Im Hammer Museum, Los Angeles
The Downward Spiral / Steven Warwick On “Trigger: Gender As A Tool And A Weapon” At The New Museum, New York
„Überlast“ Und Emanzipation – „Ich Weiss Nicht, Ob Mein Stand Es Erlaubt.“ / Isabel Mehl Über „Klassensprachen“ Im District Berlin
Katie Serva On “The Overworked Body: An Anthology Of 2000s Dress” At Ludlow 38 And Mathew Gallery, New York
Beiläufig Grundsätzlich / Bert Rebhandl Über Harun Farocki Im Neuen Berliner Kunstverein
Rien Ne Va Plus / Nuit Banai On Ericka Beckman At Secession, Vienna
Familienausstellung / Inka Meißner Über Verena Dengler In Der Kunsthalle Bern
Do You Like To Read? / Christian Berger Über „Hanne Darboven. Korrespondenzen“ Im Hamburger Bahnhof – Museum Für Gegenwart, Berlin
After Hours / Andrew Durbin On Thomas Eggerer At Petzel Gallery, New York
Remembering The Future / Bennett Simpson On William Leavitt At Honor Fraser, Los Angeles
Garten, Werkstatt, Oper – Alexander Kluge In Ausstellungen / Rainer Bellenbaum Über Alexander Kluge In Der Fondazione Prada, Venedig, Und Im Württembergischen Kunstverein Stuttgart
Getting Real / Helena Vilalta On Lee Lozano At Museo Reina Sofía, Madrid
Queere Subjektivität Und (Anti-)Koloniale Begehren / Jenny Nachtigall Über „Odarodle – Sittengeschichte Eines Naturmysteriums, 1535–2017“ Im Schwulen Museum, Berlin
Herrschaftszeichen Noch Mal! / Clemens Krümmel Über Michael Dreyer Im Badischen Kunstverein, Karlsruhe
Nachruf
Karl Otto Götz (1914–2017)
Edition
Candida Höfer
Ed Ruscha
2017, English
Softcover, 240 pages, 12 x 19 cm
Published by
KW Institute for Contemporary Art / Berlin
Uh Books / Amsterdam
$20.00 - Out of stock
F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.
Includes: Michael Asher, Joan Didion, Harun Farocki, Sven Lütticken, Lucy Lippard, Barbara Guest, A.H. Nijhoff, Will Holder, Pauline Oliveros, and many more.
2017, English
Softcover, 248 pages, 15 x 22 cm
Published by
Sternberg Press / Berlin
$64.00 $15.00 - Out of stock
Edited by Natasha Ginwala
The Contour Biennale 8, “Polyphonic Worlds: Justice as Medium,” curated by Natasha Ginwala, brings together twenty-five international and local artists and art collectives working in lens-based media, sound, performance, drawing, and installation, to address questions related to the nation-state system and the realm of justice today. Taking place in Mechelen, Belgium, “Polyphonic Worlds” embraces the communal spirit of the biennale by including the many-sided voices that assemble in collective formations as well as discrete, individual creative positions.
This reader proposes a series of beginnings—it is a polyphonic approach that borrows from juridical and musical spheres. Launched as the online journal of the biennial, Hearings pairs texts or image-based contributions, allowing for a sense of tension and affinity to develop in the feedback loop of the two voices. Relationships around the artwork as site of evidence and testimony are thus reoriented. The multidimensional readings are not restricted to the active apparatus of law and discipline, but instead seek to unravel the synchronies of our times—the mesh of injustice in our midst.
Featuring texts and illustrated contributions by Agency, Lawrence Abu Hamdan, Eric Baudelaire, Rossella Biscotti, Hunter Braithwaite and Trevor Paglen, Filipa César, Cooking Sections, Council, T. J. Demos, Denise Ferreira da Silva, Pedro Gómez-Egaña, Rana Hamadeh, Louis Henderson, Adelita Husni-Bey, Ho Tzu Nyen, inhabitants, Arvo Leo, Sven Lütticken, Basir Mahmood, Samuel Mareel, Dirk de Meyer, Otobong Nkanga, Pallavi Paul and Anish Ahluwalia, Elizabeth A. Povinelli, Judy Radul, Beatriz Santiago Muñoz, Ritu Sarin and Tenzing Sonam, Madonna Staunton, Ana Torfs, Trinh Thi Nguyen, Susanne M. Winterling and Gayatri Chakravorty Spivak, and Ghassan Zaqtan.
Copublished with Contour Biennale on the occasion of Contour Biennale 8: “Polyphonic Worlds: Justice as Medium” (March 11–May 21, 2017).
Design by Studio Remco van Bladel
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 $10.00 - In stock -
ISSUE NO. 105 / MARCH 2017 “THEY ARE US / WIR SIND IHR”
With Issue #105, TZK considers the nationalist, conservative, and racist ideologies that have recently become more visible across Europe and the US, giving particular focus to questions of border politics and migration -- of humans, of data, of patrimony, of signs. Advised by Helmut Draxler, Isabelle Graw, and Susanne Leeb, this issue was conceived prior to the US presidential election as a cooler reflection on present political debates. And yet having been produced amid the chaos of the Trump administration's first weeks, it also necessarily stands as a reflection of political-aesthetic thinking during markedly volatile times: Wir sind Ihr? They are us? We are them?
TABLE OF CONTENTS:
FORWARD
PREFACE
ROUNDTABLE
BUT WHO IS “THEY”? / Roundtable discussion with Manuela Bojadžijev, Nikita Dhawan, and Christoph Menke, moderated by Helmut Draxler on Refugee and Migrant Flows as a Challenge for Political Thought
OVERCOMING MUTE RELATIONS, OR, THINKING WITH YOUR FEET / Angela Melitopoulos in conversation with Susanne Leeb
Daniel Keller
NEW DEVELOPMENT
HALFTIME VIBES / John Kelsey on Meditations in an Emergency
WEDER WOHNUNG NOCH WÄHRUNG / Diedrich Diederichsen über den Intendantenwechsel an der Berliner Volksbühne
BEGEHREN IN BETON / Benjamin Meyer-Krahmer über die Feuerle -Collection
LIEBE ARBEIT KINO
OF DREAMS, LIES, AND WIRES / Tom McDonough on Adam Curtis’s “HyperNormalisation”
MEDIALER GESTUS / Rainer Bellenbaum über Douglas Gordons Film
„I Had Nowhere to Go“
EU DESESPERO E ABRAÇO A TUA AUSÊNCIA:
“AQUARIUS” OR CINEMA AFTER NEO-FASCISM / Daniel R. Quiles on Kleber Mendonça Filho’s “Aquarius”
FAST UNANGENEHM DEUTLICH / Anke Dyes und Anna Voswinckel über Jill Soloways
Fernsehserie „I love Dick“
ROTATION
MACH ES NICHT SELBST / Daniel Loick über „Staying with the Trouble. Making Kin in the Chthulucene“ von Donna Haraway
(POST-)EMPIRE STATE OF MIND / Emily Segal on Cat Marnell’s “How to Murder Your Life”
RELEVANTE UPDATES / Christian Egger über Raymond Pettibon im
Museum der Moderne Salzburg
SHORT WAVES
Micaela Durand on Heji Shin at Real Fine Arts, New York / Arne Schmitt über Candida Höfer im Neuen Berliner Kunstverein / Hans-Jürgen Hafner über Peter Duka bei Zwinger Galerie / Ana Finel Honigman on Dan Attoe at Peres Projects, Berlin / Tina Schulz über Willem Oorebeek im Magazin 4 in Bregenz
REVIEWS
ZUCKER UND SHAME / Ulrike Bergermann über „Deutscher Kolonialismus“
im Deutschen Historischen Museum, Berlin
MODELS AND AGENCIES / Ben Caton on “The Ulm Model” at Raven Row, London
ART HISTORY, REMASTERED / Abbe Schriber on Kerry James Marshall at the Met Breuer, New York
AESTHETICIZED PLAY / Stefaan Vervoort on Ludger Gerdes at the Museum Haus Lange,
Krefeld, Germany
NACHRUFE / OBITUARIES
BARBARA WEISS (1960–2016)
by Monika Baer and John Miller
by Andreas Siekmann
JOHN BERGER (1926–2017)
by Tom Holert
by Svetlana Alpers
2017, English
Softcover, 240 pages, 21 x 23 cm
Published by
The MIT Press / Massachusetts
Whitechapel / London
$50.00 - Out of stock
Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism’s retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer’s endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.
In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk’s social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.
Artists surveyed include:
Chantal Akerman, Francis Alÿs, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig
Writers include:
Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lütticken, John Miller, Agné Narušyté, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev
About the Author
Tom McDonough is Associate Professor of Art History at Binghamton University, State University of New York. He is the author of “The Beautiful Language of My Century”: Reinventing the Language of Contestation in Postwar France, 1945–1968 (MIT Press)
From the "Documents of Contemporary Art" series.
2014, English
Softcover (stapled), 64 pages (colour & bw ill>), 21 x 27 cm
Published by
If I Can’t Dance / Amsterdam
$30.00 - Out of stock
Louise Lawler's 'A Movie Will Be Shown Without the Picture' (1979) presents a movie in a regular cinema environment, but without any moving images. This publication is the result of an extensive research project into 'A Movie' and its 2012 iteration, undertaken with researcher Sven Lütticken and Louise Lawler. The publication includes a research essay by Lütticken that places 'A Movie' in the context of cultural developments in the 1970s and works by the Pictures Generation, and contributions by art historians Debbie Broekers, Eve Dullaart, and Daniël van der Poel.
2016, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$29.00 - Out of stock
ISSUE NO. 101 / MARCH 2016 “POLARITIES”
Issue No. 101 of Texte zur Kunst takes “Polarities” as its theme – a term we associate with what’s unfolding around us right now: ideological polarization, from Pegida to Donald Trump. How do we understand the growing gap between the ideals of tech/smooth space (where the art world tends to reside, swiftly neutralizing any resistance as “content”) and the striated regions of material unrest? How do we understand “polarization” despite our dominant, and inherently continuous, neoliberal system? Given these macro conditions in which art critical and art historical discourses are currently being formed, and within which they will need to position themselves, could the image of polarization be something not to avoid but to engage; perhaps even a potentially generative model for times that are anything but ideology-free?
TABLE OF CONTENTS
PREFACE
ET SOUS LA PLAGE … ? / Philipp Felsch interviews Timothy Brennan on the state of left theory
HELMUT DRAXLER
ALWAYS POLARIZE? / Conditions and limitations of a model of argumentation
LIBERTY, EQUALITY, SECURITY / Four questions for Carolin Emcke
ENTER THE VOID / Roy Scranton and @LILINTERNET on hyperreality and reflexive narrative
DANIEL COLUCCIELLO BARBER AND DAVIS RHODES
THE TERROR WITHIN
ANTEK WALCZAK
GLOBALLY POSITIONED
GABRIELE WERNER
HEIMAT / Notes on the enduring renaissance of an idea
BILDSTRECKE
GERHARD RICHTER
"12 PHOTOGRAPHS OF ULRIKE MEINHOF" / Taken in October 1966 for "Konkret" by Inge-Maria Peters
NEW DEVELOPMENT
NATIONAL CUSTOMS / Sven Lütticken on Germany's Kulturgutschutzgesetz
ROTATION
IST DER MENSCH DOCH NOCH ZU RETTEN? / Svenja Bromberg über Nina Powers Aufsatzsammlung „Das kollektive politische Subjekt“
HEY MOTHERFUCKERS, HERE IS YOUR GENERATIONAL NOVEL / Tobias Madison über Seth Prices Roman „Fuck Seth Price“
SHORT WAVES
Hans-Jürgen Hafner über Daniel Richter in der Schirn Kunsthalle, Frankfurt/M. / Astrid Mania über Verena Pfisterer bei Exile, Berlin / Ana Teixeira Pinto on Július Koller at the Museum of Modern Art, Warsaw / Beate Söntgen über Joan Mitchell im Museum Ludwig, Köln / Daniel Keller on Peter Fend at Barbara Weiss and Oracle, Berlin / Manfred Hermes über Anne Speier bei Silberkuppe, Berlin
REVIEWS
SPERRIGE NAHEVERHÄLTNISSE / Eva Kernbauer über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
DER GESCHMACK DES PRIVATEN / Barbara Buchmaier und Christine Woditschka über die Sammlung Würth im Martin-Gropius-Bau, Berlin
BENEFITS / Sarah Lookofsky on “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art, New York
NOBODY EVER DID WHAT WE DID / David Rimanelli on Dash Snow at the Brant Foundation Art Study Center, Greenwich, Connecticut
MALEREI MALGRÉ TOUT / Maria Muhle über „Painting 2.0“ im Museum Brandhorst, München
PUNK’S NOT DEAD, JUST DIFFERENT / Gili Tal on “Rum, sodomy, and the lash” at Eden Eden, Berlin
WITHIN YOU WITHOUT YOU / Jenny Nachtigall on Carolee Schneemann at Museum der Moderne, Salzburg
FREMDE ZUNGEN / Yilmaz Dziewior über „Slip of the Tongue“ in der Punta della Dogana, Venedig
LOCAL UNION / Rhea Anastas on Union Gaucha Productions at Artists Space, New York
EDITION
THEA DJORDJADZE
DANA SCHUTZ
2015, English
Softcover, 304 pages, 13 x 19.5 cm
Ed. of 500,
Published by
Dissect / Melbourne
$15.00 $5.00 - Out of stock
The Internet increasingly structures our experiences of the world. The web is approaching omnipresence, absorbed into the everyday, as our material lives are heavily mediated by its attendant applications, algorithms and software. Everything is in flux, including the presentation and distribution of our own selves—both online and offline.
Subversive interaction with various digital media seems both necessary and apparent within contemporary art. From the possibilities afforded photography by digital image manipulation and proliferation, to the incorporation of aspects of online experience into material objects, there is a porous border between the online and offline worlds, if there even remains a border at all.
A range of authors and artists address these concerns in the second issue of Dissect Journal, as submissions reflect on the structures and oppositions that continue to colour debates in and around digital art.
Contributions by: Rachel de Joode, Phebe Schmidt, Daniel Palmer, Travis Cox, Johanna Drucker, Sven Lütticken, David La Roche, James L Marshall, Madeleine Stack, Natasha Chuk, Sheridan Coleman, Danielle Zorbas, Amanda Starling Gould, Holly Childs, Max Trevor, Thomas Edmond, Hannah Schiefelbein, Kyle Weise, Tara Cook.
cover image:
Joseph DeLappe, 'Predator Drone - Cowardly' from 'Cowardly Drones', 2013. Digital image.
Dissect Journal is a new contemporary art publication that presents a range of longer essays, shorter reviews and artist pages.
If it is true that contemporary art both reflects and refracts an image of the world, as it is both of it and provides more of it, then attempts to address contemporary art must themselves be varied and complex. In the variety of material published within its pages, Dissect Journal seeks to reflect the manifold interconnections between contemporary art and the world.
Featuring both emerging and established contributors, the publication strives for a sustained and intelligent engagement with contemporary art. It aims to analyse and interrogate the work of contemporary artists from various vantage points, sculpting and refining multiple histories of and responses to contemporary art.
edition: 500
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 $15.00 - In stock -
ISSUE NO. 100
DECEMBER 2015
„THE CANON“
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
PREFACE
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
DIEDRICH DIEDERICHSEN
MIKE KELLEY
SABETH BUCHMANN
MEDIAL (SELF-)MOVEMENT
ISABELLE GRAW
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
JULIANE REBENTISCH
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
GERTRUD KOCH
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
KERSTIN STAKEMEIER
MORE MANNERISM / Ruth May and Jan Molzberger
GUNTER RESKI
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
BEATE SÖNTGEN
ROSEMARIE TROCKEL
NICK MAUSS
IAN WHITE
TESS EDMONSON
DIS
HANNA MAGAUER
POST-INTERNET: THE NEW ORDER
JOSEPHINE PRYDE
THE INDIVIDUAL
CAROLINE BUSTA
BAD CANON
SIMON DENNY
DISRUPT
KEN OKIISHI
CITIZENSHIP
VALENTINA LIERNUR
SELF-REFLECTIVE SUBJECTS
JUTTA KOETHER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
TUCUMÁN ARDE
PAMELA M. LEE
GROUP MATERIAL
FELIX VOGEL
MARTIN BECK
SVEN BECKSTETTE
STURTEVANT
CLAIRE FONTAINE
TOWARD A CANONIC FREEDOM
SVEN LÜTTICKEN
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
BRIGITTE WEINGART
GREAT & SMALL
HELMUT DRAXLER
CANON OF EXISTENCE, ETHICS OF THE BREAK
ROTATION
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
REVIEWS
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
OBITUARIES
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015)
by Tim Griffin
EDITION
JOHN BALDESSARI
NHU DUONG
PETER FISCHLI/DAVID WEISS
WADE GUYTON
RACHEL HARRISON
SARAH MORRIS
ALBERT OEHLEN
RICHARD PHILLIPS
SETH PRICE
GERHARD RICHTER
ROSEMARIE TROCKEL
2015, English
Softcover, 629 pages, 19.5 x 25.5 cm
Published by
Leuphana University of Lüneburg / Germany
Sternberg Press / Berlin
$42.00 - Out of stock
Contributions by Marie-Luise Angerer, Christoph Behnke, Ana Bogdanović, Larissa Buchholz, Sabeth Buchmann, Kathrin Busch, Bettina von Dziembowski, Daniel Falb, Paul Feigelfeld, Ulrike Gerhardt, Monica Greco, Erich Hörl, Cornelia Kastelan, Stefanie Kleefeld, Valérie Knoll, Roman Kräussl, Susanne Leeb, Hannes Loichinger, Sven Lütticken, Julia Moritz, Volker Pekron, Pierre Pénet, Dieter Roelstraete, Bettina Roggmann, Stefan Römer, Steffen Rudolph, Michael Sanchez, Magnus Schaefer, Stefanie Sembill, Christophe Spaenjers, Paul Stenner, Jeannine Tang, Olav Velthuis, Ulf Wuggenig
Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. However, beyond static perspectives of such struggles, in a dynamic and globalized artistic field increasingly transformed by the digital revolution, temporary mobility attractors deserve our attention.
This publication attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontalized networks and deterritorialized structures, nor does it fix itself to determinist approaches. In contrast to twentieth-century constructivist approaches and their epistemic fallacies, materialized verticalities and matter-based, infrastructural spaces are brought to the fore.
This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today’s power law–based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows—which also included the works of winners of the Daniel Frese Prize—at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations.
Works by Art Club 2000, Patterson Beckwith, J. St. Bernard, Angela Bulloch, Daniel Buren, Merlin Carpenter, Gordon Castellane, Diego Castro, Nicolas Ceccaldi, Jeremiah Day, Stephan Dillemuth, John Dogg, Maria Eichhorn, Jana Euler, Loretta Fahrenholz, Renée Green, Karl Holmqvist, Gilta Jansen, Monika Jarecka, Tobias Kaspar, Carola Keitel, Jackie McAllister, Josephine Meckseper, Dirk Meinzer, James Meyer, Shana Moulton, nOffice, Christodoulos Panayiotou, Fabian Reimann, Carissa Rodriguez, Megan Francis Sullivan, Katja Staats, Simon Starling, Buffy Summers, Jan Timme, Daniela Töbelmann, Niko Wolf, Amelie von Wulffen, Phillip Zach
Copublished with Leuphana University of Lüneburg
Design and infographics by Sina Hurnik and Kerstin Warncke
2014, English/German
Softcover, 256 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$29.00 - Out of stock
With this issue, Texte zur Kunst takes a closer look at one of the most contested groups of art world protagonists—”The Gallerists”—continuing a series in which we have examined, previously, “The Curators,” “The Collectors,” and the “Artists’ Artists.” As gatekeeper to artistic production on the one hand and market valuation on the other, the art seller, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position. But in recent years, the demands of this profession have changed dramatically—now requiring 24/7 communication, perpetual travel, and a constant presence at fairs. In these pages, we ask if in recalibrating to accommodate these pressures, the gallerist has, in a sense, become something other than what we once took him or her to be?
What, today, can we make of the “good” gallerist carefully establishing a stable of artists, “placing” their work over time in particular institutional and private collections? And how does this position correspond with those of the many new (or at least newly prominent) mediators further altering the field—the advisors and consultants, the “flippers,” and various digitally based aggregators?
Further to this, we ask if this restructuring is affecting (or indeed is an effect of) the ways in which artists now work. And if a market taking place independently of gallerists is indeed increasing, how then does this affect the established mechanisms of validation and canonization?
Also in this issue: an image spread by Dan Mitchell as well as reviews from Berlin, Bregenz, Heidelberg, London, Madrid, Mexico City, New York, Salvador, and St. Petersburg.
English content:
Preface
Main Section
Olav Velthuis
“Artrank and the Flippers: Apocalypse Now?”
“New York Recall”
Friedrich Petzel on his gallery / Richard Kern on Feature Inc.
Hannes Loichinger
“Trading Notions”
Isabelle Graw
“The Gallerist’s Hat”
On John Knight’s “JK, a work in situ, Art Basel” and the structural transformation of the art world
Lynda Morris
“Out of Düsseldorf”
“G-Force: Gallerists and the Expanded Market”
A roundtable conversation with Simon Denny, Nicole Hackert, Lisa Schiff, Niklas Svennung, moderated by Caroline Busta and Hanna Magauer
Lane Relyea
“Shifting Terrain”
Harald Falckenberg
“Tips for a Gallerist I”
On galleries as commercial enterprises
Noah Horowitz
“Tips for a Gallerist II”
The passion of the industry
Reviews
Sven Lütticken
“Event Horizon”
On Johanna Burton and Anne Ellegood’s “Take It Or Leave It: Institution, Image, Ideology”
Philipp Ekardt
“Toward Criticism as an Anecdotal Science”
On “Pictures, Before and After: An Exhibition for Douglas Crimp” at Galerie Buchholz, Berlin
David Rimanelli
“All 47 Likes Are Mine”
On Richard Prince at Gagosian Gallery, New York
Brigid Doherty
“Studio Sessions”
On Hanne Darboven at Museo Nacional Centro de Arte Reina Sofía, Madrid
Brendan Fowler
“Heart and Soul”
On Colourbox at Between Bridges, Berlin
David Bussel
“Real Capital Seduction”
On KP Brehmer at Raven Row, London
Dorothea Jendricke
“Painting 501″
On Valentina Liernur at Campoli Presti, London
Ana Teixeira Pinto
“Lines of Territory”
On Mariana Castillo Deball at Kurimanzutto, Mexico City
Artists’ editions
Alex Israel
Ferris Bueller’s Day Off, 2014
Laura Owens
Untitled, 2014
2014, German/English
Softcover, 280 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$29.00 - In stock -
Over the past years, Berlin has become an important center for the international production of art and theory. English is firmly entrenched as its second language, and it attracts an unending inflow of newcomers. An informal economy, ample resources of time and space, the intense debates that are said to take place here, and its bohemian aura are still crucial to its attractiveness. But doesn’t Berlin’s allure derive from expectations created by realities of the 1990s and 2000s that no longer exist? Berlin’s current remodeling in line with a representational and economic agenda was already being planned as others still put their faith in the transgressive potential of parallel “underground” worlds. It is time for an assessment without nostalgia or resignation: for a Berlin Update.
This issue of TEXTE ZUR KUNST investigates recent developments in Berlin that also stand paradigmatically for structural transformations of the art world, academia, and the general conditions of life and work. As economization and flexibilization, along with formerly ‘alternative’ project culture, are spreading to the core of institutions, the interrelation between the public sphere, the city, knowledge, and the markets changes drastically. Our authors discuss the conditions artists and curators face when working in and outside of Berlin’s art institutions; they examine the bohemian art scene’s tendency to blend into the VIP zone that has formed in recent years; they criticize the exhibition and collection politics of Berlin’s museums; and they investigate new tendencies and sites in the production of theory, art, music, and nightlife in the city. And not at last we ask what remains of the local in a globally networked (art) world.
Plus a picture spread by Calla Henkel and Max Pitegoff and reviews from Berlin, Chicago, Copenhagen, Frankfurt/M., Geneva, New York, Siegen, Stuttgart, and Zurich. Exclusive new artists’ editions by Axel Hütte and K.O. Götz.
English content:
Preface
Main Section
Isabelle Graw
“The Myth of Remoteness from the Market. Notes on Berlin’s Rise as an Art Metropolis”
“Under the Shadow of Projects”
A roundtable discussion with Heike-Karin Föll, Juan Gaitán, Christoph Gurk and Florian Wüst, moderated by Philipp Ekardt and Hanna Magauer
Susanne von Falkenhausen
“Statement on the Exhibition and Collection Politics of the Berlin National Gallery”
“Berlin Theory”
A survey with Barbara Wittmann, Alexander García Düttmann, Frank Ruda, Peter Geimer and Maria Muhle
Philipp Ekardt
“The New Pragmatists. On Times and New Theater”
Pablo Larios
“Blackout. On White Material Records”
Paul Feigelfeld
“The Cloud Over Berlin. Two Remarks on the Archaeology and Present of Digital Rights”
Short Cuts
“On the Significance of Textiles in Contemporary Thought and Praxis”
A survey by S. Buchmann and R. Frank with T. Smith, A. Mendizabal, M. Kapustka/A. Reineke/A. Röhl/T. Weddigen, J. Raum, L. Antunes, K. Kouoh, I. Below
Reviews
John Beeson
“Where Failure is Proof of Wrongdoing”
On The Essential Ellen Willis
Gili Tal
“The Place Beyond One’s Prime”
On Timothy Davies at Sandy Brown, Berlin
Jenni Sorkin
“Still Waiting”
On Faith Wilding at Threewalls, Chicago
Andrew Stefan Weiner
“Photoconceptualism Pure and Impure”
On Christopher Williams at the Art Institute of Chicago
Carson Chan
“Growers and Showers”
On Eddie Peake at Peres Projects, Berlin
Brigid Doherty
“Titles and Compositions”
On Rosemarie Trockel at Gladstone Gallery, New York
Sven Lütticken
“A Retrospective With Eight Legs”
On Superflex at Kunsthal Charlottenborg, Copenhagen
Piper Marshall
“The Costliness of Our Attachments”
On Bad Conscience at Metro Pictures, New York
Jacob King
“Signifying Friendship”
On Macho Man, Tell It To My Heart at Artists Space, New York
Obituaries
Alena J. Williams
“Productive Estrangements. Remembering Nancy Holt (1938–2014)”
Artists’ Editions
Axel Hütte
Ca’Corner della Regina-3, 2012/2014
K.O. Götz
Siekri 12, 2014
2013, German/English
Softcover, 280 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - In stock -
Under the motto “How we aim to work,” the June issue of Texte zur Kunst brings together contributions by authors who have been associated with the magazine for a long time and who have shaped its debates along the way. Instead of specifying a thematic focus, we left it to the contributors to decide which questions relating to their current research interests they wanted to address—themes for which, faced with the deadlines always bearing down on them, the authors usually don’t find time. It is precisely the conditions out of which their texts developed and the different formats of these contributions—from collaborative authorship; to narrative, literary essays; all the way to monographic and performative, artistic treatises—that stand for a different approach to the fields of university research, project-oriented collaborations, or artistic dealings. Such an approach would run counter to the often sobering coercion of activity and effectiveness that characterizes working conditions today. All of the contributions show that a strategy of countering this imperative of activity can derive from pursuing long-term modes of working and thought in a targeted way and from investing in a project intensively over a longer period of time. Not only does the longstanding commitment of these authors to Texte zur Kunst mark such an endeavor, but with their “work samples” in this issue, they also grant us insight into the themes they are currently working on: Instead of bowing to the pressure of presenting only finished products, they stress the potential that lies in making work processes visible and putting them up for debate. “How we aim to work” can therefore be understood as both a question that we pose ourselves and as a public appeal.
Plus a picture spread by Dierk Schmidt and reviews from Berlin, Cincinnati, Cologne, Düsseldorf, Frankfurt/Main, Liverpool, Los Angeles, Madrid, Margate (GB), New York, Nuremberg, Oberhausen, and Paris.
Exclusive new artists’ editions by Matias Faldbakken and Wade Guyton.
English Content
Preface
Main Section
Tom Holert
Postscript on the Societies of Comfort
Jutta Koether
Starting from the Picture
Seat of Power—A Picture of Being a Woman Artist
Beate Söntgen
Why Diderot?
A Project Outline
Helmut Draxler
Taking Part in the Other
Politics and Structural Ambivalence
Sabeth Buchmann & Constanze Ruhm
Subject Put to the Test
Rainer Bellenbaum
Disco, Drift, Tent, Choir
On Elizabeth Price’s Videos
Sven Lütticken
Research Objectives
Or: The Art of Obstruction
Clemens Krümmel
A Minor Ninth That Nobody Wants
On the Henry Flynt Exhibitions “Activities 1959–” in Düsseldorf and Karlsruhe
Short Cuts
Still One of Us?
Isabelle Graw asks Julia Gelshorn, Sebastian Egenhofer, Fiona McGovern, and Chris Reitz about the current reception of Martin Kippenberger.
Reviews
Christodoulos Panayiotou
Closer Distances
On Disabled Theater by Jérôme Bel
Marina Vishmidt
A Rapid Inventory of the Universe
On Rosa Barba at Turner Contemporary, Margate
Philipp Ekardt
Makeup Collage
On Linder at the Musée d’Art Moderne de la Ville de Paris
Adrienne Rooney
Who Knows Nothing?
On John Finneran at Canal 47, New York
Alex Kitnick
Pop Pyramid
On Derek Boshier at Thomas Solomon Gallery, Los Angeles
David Reisman
Teamwork
On Thomas Bayrle at The Artist’s Institute, New York
André Rottmann
Complicity and Contestation
On Andrea Fraser at the Museum Ludwig, Cologne
Petra Lange-Berndt
Unmaking Normality
On “Glam! The Performance of Style” at Tate Liverpool
Michael Darling
Photosensitive
On James Welling at the Cincinnati Art Museum
Pedro de Llano
The Sentient Memory of Latin America
On “Losing the human form” at Museo Nacional Centro de Arte Reina Sofía, Madrid
Artists’ Editions
Matias Faldbakken
Jerry Can Cut, 2013
Wade Guyton
IMG_1919.JPG, 2013