Anne Imhof’s performances are characteristically stark: a few key props, a few key performers, a bare venue. But in the years since presenting her earliest pieces, one element has exponentially increased: her audience, which is to say not just fans, but those who seek to physically experience it, and in turn, lend their bodies as material for each piece.

With Imhof's acclaimed new piece "Faust," presented by the German Pavilion for this year's Venice Biennale, we offer TZK's reading of “Angst II,” the Frankfurt-based artist's massive (and likewise massively attended) performance at Berlin’s Hamburger Bahnhof this past fall.

Die TV-Adaption von Chris Kraus’ auto-fiktionalem Roman „I love Dick“ durch die Transparent-Schöpferin Jill Soloway hat jetzt bei Amazon Premiere. TZK-Redakteurin Anke Dyes und die Berliner Kuratorin Anna Voswinckel betrachten hier, wie Soloways nuancierte Charaktere den von ihr propagierten „Female gaze“ verkörpern.

Sven Lütticken, der zuletzt den Aufstieg „alternativ-rechter“ und neofaschistischer Medienaktivisten beleuchtet hat, setzt seine Untersuchungen hier fort. Er verfolgt darin den Einfluss kybernetischer Ideen – von der Datenverarbeitung im Kalten Krieg bis hin zur akzelerationistischen Logik von Nick Lands „Dunkler Aufklärung“ – auf das derzeitige politische Klima.

Im Oktober 2015 besuchte ich John Berger und seine Partnerin in ihrem Haus in einer Pariser Vorstadt. Während des Essens bemerkte ich, dass ich schreiben würde, um die Gedanken in meinem Kopf in eine klare Ordnung zu bringen. „Nein!“, rief John und richtete seinen breiten Burstkorb auf. „Ich schreibe, um die Dinge klarer für die Welt zu machen.“...

Increasingly, the most potent debates in arts discourse take place across social media. The recent controversy over Dana Schutz's painting of Emmett Till, placed on view in the current Whitney Biennial, is a case in point. To create, in some way, a record of the terms of this discussion, TZK asked art historian George Baker to adapt a provoking painting-centered thread that played out on his page during the discussion's (online) peak, for publication here.

Die Arbeiten von Stefan Hayn waren in Berlin in den letzten Jahren nur vereinzelt in Gruppenausstellungen oder im Rahmen von Filmscreenings zu sehen. Mit der Ausstellung „Whose propitious Garden is this?“ unternimmt die Kienzle Art Foundation den Versuch einen weiter gefassten Blick auf Hayns Werk zu werfen. In den Ausstellungsräumen werden mehrere Filme sowie 13, teils mehrteilige Malereien, Zeichnungen und Collagen aus den letzten 30 Jahren gezeigt.

In the short time since Trump’s inauguration, political minutiae-turned-news has become more than just the fog of media orchestrated to distract. It has become the very site of political content production and, at least for now, also a key locus of violence and control. In a piece from TZK issue #105 (out March 8), John Kelsey gives his take on the media stream's recent surge, commenting on how corporate consumer messaging is surfing these new waters, in turn.

The recent crisis of "alternative facts" is not a new one to art history. Indeed, one need look no farther than to the anxiety over the 'loss of truth' as digital processes divested photography of its material, indexical connection to its referent. Party to this, have always been evolving definitions and aesthetics of 'the real.' Examining what iterations thereof we might currently see as 'true' (and why) photographer Ilya Lipkin takes up, here, a recent editorial spread by David Sims and Max Pearmain (involving the Estate of Kathy Acker), as well as the work of Josephine Pryde.