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CFA Berlin Zurich Art Weekend 2022 Berlinienische Galerie wod 4 Art Basel 2022 Solothurn Kunstmusuem the map for contemporary art in Berlin Art Basel Liste 2022 Volksbühne Documenta Fifteen Venedig Biennale
13. May 2022
Issue No. 115

QUEER AUTOFICTION AS BODY PROTOCOL

(By Peter Rehberg)

When authors write about themselves, they assume a dual position as author and subject of their texts, both affirming and reworking themselves in the process. In his contribution to our 2019 issue on Literatur, Peter Rehberg explores what happens when the autofictional subject undergoes a radical biological transformation in the course of writing, using Paul B. Preciado’s Testo Junkie and Maggie Nelson’s The Argonauts as examples. Published online for the first time, we are looking ahead to the fourth iteration of our discussion series “Ways of Disagreeing,” which will take place on June 3 in the Roter Salon at Volksbühne am Rosa-Luxemburg-Platz: Monique David-Ménard and McKenzie Wark will discuss to what extent psychoanalysis, from a queer theoretical perspective, can provide the tools to capture a queer subject understood as incoherent, non-essentialist, and transgressive.

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11. May 2022
Issue No. 111

TRAUMA AND VIRTUALITY

(By Aria Dean)

In anticipation of our June issue – which will focus on politics of memory as well as forms of ritualized mourning and collective trauma – we are republishing a text from 2018: In her text from our issue Amerika, artist and writer Aria Dean investigated the ways in which two recent works by American artists address the complex nature of viewership and experience in light of the widely-circulated images of brutality against black bodies in particular. How do we decide what part we play in viewing and reviewing images of barbaric scenes? How do we differentiate between watching and participating? Are artworks still capable of presenting critical modes of engagement today, which may yet help us reflect on not just the what but the how of witnessing?

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March 2022

Current Issue

Issue No. 125
March 2022
„Genres and Gestures of Dissent“

Dissent encompasses both conflict and the potential to overcome it. This March issue of TEXTE ZUR KUNST attempts to develop perspectives that lead us away from the apparent hopelessness of mutually reinforcing antagonisms. Under the title “Genres and Gestures of Dissent,” the contributions to this issue take up the form of debate in and beyond the art field, examining the polarizing tendencies of current online discourses as well as productive struggles for participation and interventionist practices of criticism.

To the table of contents

6. May 2022

THE CONVENTION OF THE PRESENT, THE ART OF THE PAST Joseph Henry on virgil b/g taylor at Artists Space, New York

In Germany, “Erinnerungskultur” refers to the individual and social grappling with the nation’s past and its history, establishing and maintaining a collective memory. This practice manifests most visibly and publicly in the form of memorials and monuments, however, what gets memorialized – and how – is, of course, political. The history of Sol LeWitt’s contribution to the 1987 Skulptur Projekte, which art historian Joseph Henry recounts here, is a revealing example of the politics involved. LeWitt’s work constituted the starting point for artist virgil b/g taylor’s exhibition at Artists Space. As Henry writes, taylor’s installation set out to revive the politically committed quality of LeWitt’s oeuvre while also interrogating the German counter-monument within current disputes of historical commemoration, whether those involving the United States’ white supremacist legacy or Germany’s extremely belated colonial reckoning.

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4. May 2022

TOPOS TÜTE Anna Sinofzik über Jac Leirner in der Galerie Esther Schipper, Berlin

Seit den frühen 1980er Jahren verwandelt Jac Leirner Abfallprodukte wie Plastiktüten, Kugelschreiber oder Zigarettenschachteln in raumgreifende Installationen. Die Berliner Galerie Esther Schipper präsentierte kürzlich vier neue Arbeiten der brasilianischen Künstlerin, die sich als konsequente Weiterführung ihrer mehr als 30-jährigen künstlerischen Praxis erwiesen. Zwar liegt der Fokus von Leirners Arbeiten auf deren Farbgebung und räumlich-formaler Umsetzung. Allerdings klang in der titelgebenden Installation der Ausstellung, „Us Horizon“, auch ein traditioneller Kritikpunkt der Institutionskritik an, wie unsere Bild- und Onlineredakteurin Anna Sinofzik argumentiert: Die Kommerzialisierung des Ausstellungswesens, die in Brasilien eine sehr spezifische Geschichte hat.

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Artists' Editions

Julie Mehretu, "Among the Multitude III", 2020-21

29. April 2022

HETEROCHRONIA IN THE ITALIAN ’60s Tom McDonough on Romy Golan’s “Flashback, Eclipse: The Political Imaginary of Italian Art in the 1960s”

Romy Golan’s recent book on Italian art in the 1960s arrived concurrently with renewed international attention to figures from Italy’s postwar scene such as Carla Lonzi and Laura Grisi. Rigorously engaging the archive, Golan constructs an original rereading of artistic production in this moment in Italy; as art historian and critic Tom Donough characterizes it here, the book is an immersion into the historical strata of images that constitute something like a social archive of Italian visual memory. Golan is an expert diver, Donough writes, bringing unexpected associations and resonances back to the surface and exposing the persistence of various historical pasts in what many had taken to be our perpetual present.

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22. April 2022

AGAINST AFFIRMATION Alice Blackhurst on Jesse Darling at Modern Art Oxford

The notion of the autonomous artistic genius has long sustained an art world intimately embedded in the economy. In their latest survey in Oxford, Berlin–based artist Jesse Darling – who has exhibited widely throughout Europe – rubs up against this notion of institutionally affirmed, market-aligned “success.” The exhibition is informed by a resistance to the progress narratives of conventional career-surveys, writes critic Alice Blackhurst, exploring instead the more recursive and disjointed practice of artmaking. Privileging torqued and awkward shapes and working with widely available, humble materials, Darling asks how art might foster a political aesthetics of vulnerability without succumbing to the easy thrills of biography, or straightforward confession.

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15. April 2022

WORDS FAIL Jules Pelta Feldman on “Louise Bourgeois x Jenny Holzer” at Kunstmuseum Basel

The artist-as-curator is a relatively new phenomenon. It can be argued to be a symptom of an increasingly deskilled profession – everyone, it seems, is a curator these days. However, an artist often offers a perspective no professional curator could – not necessarily because the professional curator couldn’t, but because the institutional rules fall away, at least somewhat, for the artist-curator. In a current exhibition in Basel, Jenny Holzer assumed the role of curator to Louise Bourgeois in what the museum declares “an unprecedented encounter between two giants of American art.” Art historian and critic Jules Pelta Feldman visited the exhibition and assesses this artistic exchange.

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13. April 2022

COURT REPORT Tobias Dias on “Court for Intergenerational Climate Crimes” at Framer Framed, Amsterdam

The appropriation of legal proceedings in the realm of art has become a recurring tactic in practices that fall under the now-trite umbrella of “socially engaged.” Take, for instance, the “Model Court” project initiated in 2009 by Sidsel Meineche Hansen, Lawrence Abu Hamdan, and others, or the assembly convened in 2015 for Milo Rau’s “The Congo Tribunal.” In relation to the latter, Sven Lütticken termed this type of artistic endeavor “para-legal performance” – its efficacy resides in publicity, rather than in the legally binding speech act of a judge or jury. Another such project, “Court for Intergenerational Climate Crimes,” recently unfolded in Amsterdam. Writer and researcher Tobias Dias reports on its agenda here and considers questions around its formal and theoretical premises.

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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.