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Kunst und Helden/ Parter Galerie / gegen archiv Merkur Zeitschrift CFA Berlin Kunst und Helden/ Parter Galerie / gegen archiv Merkur Zeitschrift CFA Berlin
26. November 2021

THE CONCRETE INTENSITIES OF SOUND Christian Liclair on Susanne Sachsse at Participant Inc, New York

In East Germany, artistic practices that did not adhere to Socialist Realist imperatives were branded Formalist and barred from consideration for public commissions. One affected artist, Kurt W. Streubel, challenged the GDR’s policy and continued to produce a rich body of work. Actress and artist Susanne Sachsse’s recent show in New York pays tribute to Streubel with a sprawling installation that takes up elements of Streubel’s oeuvre and reconfigures it for the present. And, while Streubel’s presence looms large in the show – it opened on his 101st birthday, a year later than planned – it offers little historical context. Here, art historian Christian Liclair details some of this context, as well as Sachsee’s relationship to Streubel, offering a dynamic reading of the show’s many layers.

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24. November 2021

ALPHABET SPAGHETTI FEEDBACK Tom McCarthy in Conversation with Stephanie LaCava

In the first pages of his new novel, Tom McCarthy writes, “Computer modelling won’t show you everything. Sometimes you have to actually do it, make a little world, get down amidst dumb objects and their messiness.” And so, in the midst of coding, of programming an imagined world, there are still material questions. McCarthy is interested in the efficacy and deficits of corporeal communication, gestures of poetry and language that can never be fixed down. This latest book reminds the reader that it is she – the spectator – who gives final meaning to all these movements and machines. Author Stephanie LaCava spoke with McCarthy about the book and the sea of references that inspired it.

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September 2021

Current Issue

Issue No. 123
September 2021

This September issue of Texte zur Kunst examines envy as the operating system of an art world based largely on networking, competition, and interdependencies. Envy, as understood here, develops when individuals orient and compare themselves to others. One could characterize the art world as a prototype for a competition-driven, envy-generating society; achievement in art is difficult to measure and counts less than success. Issue #123 takes a closer look at the productive as well as destructive potentials of envy in the field of art and examines the extent to which the diagnosis of envy plays into the competitive nature of work and life today. The specific social effects of contemporary forms of online communication are discussed here, as well as the political economy of envy with particular regard to art.

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19. November 2021

SUBVERSION ZWISCHEN GESCHÄFTSMODELL UND KURATORISCHER FORSCHUNG Rainer Bellenbaum über Amos Vogel im Arsenal (Berlin) und auf der Viennale 2021 (Wien)

Im Kapitalismus der Gegenwart, in dem Unkonventionalität längst selbst zur Norm geworden ist, scheint Subversion als kritische Kategorie obsolet geworden zu sein. Als Filmkritiker und -kurator Amos Vogel 1974 sein Buch „Film as a Subversive Art“ schrieb, das Generationen von Cinephilen und Programmgestalter*innen beeinflusste und das nun neu aufgelegt werden soll, waren die sozialen, politischen wie ästhetischen Vorzeichen noch andere. Und doch ist Vogels Methode des Kinomachens bis heute das Modell für Kinematheken, Filmmuseen und Filmfestivals, wie allein zwei aktuelle Würdigungen in Berlin und Wien zu Vogels 100. Geburtstag belegen. Vor welche Herausforderungen die Subversionsthese die kinematografische Gegenwart stellt, legt Autor und Filmkritiker Rainer Bellenbaum im Nachgang dieser beiden Hommagen dar.

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17. November 2021

A Home without a Cat Is Just a House Annette Weisser on Vincent Fecteau at Fridericianum, Kassel

The proliferation of online “Viewing Rooms” as an interim alternative for viewing art during the pandemic is hopefully not a permanent development. Bolstered by specious claims that they democratize art by delivering it to anyone with an internet connection, these virtual realities tend to reduce exhibitions to a flat, glossy interface that best serves the market, not art or viewers. Here, artist and writer Annette Weisser narrates her first post-lockdown exhibition visit – Vincent Fecteau in Kassel – and describes the sensations of this experience, reminding us, through Fecteau’s work, just what is so great about tangible encounters with artworks.

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Artists' Editions

Jill Mulleady, "Hamlet", 2021

12. November 2021

WERTSCHÖPFUNGSKETTENGLIEDER Michael Hutter über Antoine Watteau im Schloss Charlottenburg, Berlin

Im Juli dieses Jahres jährte sich zum 300. Mal der Todestag des französischen Malers Antoine Watteau (1684-1721). Schon zu Lebzeiten waren dessen Werke begehrte Sammelobjekte. Allerdings waren es nicht Watteaus Originalzeichnungen und -gemälde, die damals den Großteil des Umsatzes auf dem Kunstmarkt ausmachten, sondern druckgrafische Reproduktionen. Eine Sonderausstellung im Schloss Charlottenburg ehrt den Maler nun mit einer großen Werkschau unter den Aspekten des Handelns mit und Sammelns von Kunst. Mit ihren reichen Sammler*innen, spezialisierten Expert*innen, kunstbegeisterten Unternehmer*innen sowie renommierten Kunstkritiker*innen ähnelt die Pariser Kunstszene des frühen 18. Jahrhunderts, wie der Ökonom und Soziologe Michael Hutter argumentiert, strukturell dem heutigen „global art circuit“.

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10. November 2021

Tom Hastings: Public Speaking. On the meaning of “I” in the artist's open letter

The open letter has long been utilized as a form for airing grievances in the art world, initiating and intensifying discussions on art's imbrication in dominant sociopolitical conditions and positioning art against those conditions. As we look forward to our December issue on collectivity, we are sharing writer Tom Hastings's 2016 text on open letters and artistic authorship. As Hastings argues, whether it is the individual or the collective who takes a stand, those undersigned publicly consolidate an authorial voice that must, intentionally or not, double back on the value of what they as artists do, and how they do it. The open-letter format maximizes distribution; effect all but guaranteed.

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5. November 2021
Issue No. 97

Fiorucci Made Me Normcore: Five observations on art, style, and scenes today Philipp Ekardt

The aesthetic attraction of social scenes formerly referred to as “underground” is hard to beat. As much is evident from the sustained attention they receive in contemporary art and fashion; a process in which these groups’ collective stylistic productivity – from queers to new beat kids – is championed, but frequently enough also appropriated in the most laconic manner. Is there a way to construct theoretical and artistic connections to these and other forms of stylistic articulation that escapes such tapping? With an eye to our December issue on “Collectivity,” we are publishing here a text that Philipp Ekardt wrote in 2015 for issue #97, “Bohemia,” and for which, among other things, Mark Leckey’s video essay “Fiorucci Made Me Hardcore” (1999) was the inspiration – that found-footage compilation documenting the British underground club scene from Northern Soul in the 1970s to the rave scene of the early 1990s.

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3. November 2021
Issue No. 106

The Tough Stuff. “Populism,” “Political Correctness,” and the Like Diedrich Diederichsen

Even before the rise of the “alt-right,” conservatives have flouted the rules of what is often referred to as political correctness. The debate over who is radical and who follows the rules, however, has gained new currency in recent years with rise of social media and especially since the pandemic. In his text for issue #107, “The New New Left,” Diedrich Diederichsen – who addressed in his 1996 book “Political Corrections” what were then already described as “long overdue questions” – asks what could happen if political correctness truly did have the power that its critics ascribe to it. Looking ahead to our December issue on “Collectivity,” which addresses the relationship between art and activism and the self-understanding of artists working in and with collectives, we are republishing Diederichsen’s text here.

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TEXTE ZUR KUNST stands for controversial discussions and contributions by internationally leading writers on contemporary art and culture. Alongside ground-breaking essays, the quarterly magazine – which was founded in Cologne in 1990 by Stefan Germer (†) and Isabelle Graw and has been published, since 2000, in Berlin – offers interviews, roundtable discussions, and comprehensive reviews on art, film, music, the market, fashion, art history, theory, and cultural politics. Since 2006, the journal's entire main section has been published in both German and English. Additionally, each issue features exclusive editions by internationally renowned artists, who generously support the magazine by producing a unique series.