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Cahier Galerie Neu Berlin CFA Berlin the map for contemporary art in Berlin HKW WELTKUNST e-flux Kunstmuseum Basel
19. October 2019

Animated Gifts in the Exchange System Reflections on Jack Whitten’s Painting, on the Occasion of the Exhibition “Jack Whitten: Jack’s Jacks” at Hamburger Bahnhof, Berlin

The long overdue first solo exhibition in Europe of the late American painter Jack Whitten, "Jack's Jack's," opened in Spring 2019 at the Hamburger Bahnhof in Berlin. The publisher of Texte zur Kunst, Isabelle Graw, took this unique exhibition as an opportunity to examine Whitten's work with regard to his latent animism. Her considerations go far beyond those of a review of the limited show, endeavoring instead to put the works shown in Berlin into the context of Whitten's larger oeuvre.

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16. October 2019

The Pleasure of Working Through A Conversation between Isabelle Graw and Samo Tomšič

The seemingly unfulfillable search for pleasure and enjoyment is at the core of what drives us as human beings. This fact is exploited by the systems of modern capital around the world, where pleasure is structurally linked to the work we do and the gratification it supposedly affords us. But pleasure and enjoyment are also central entry points into the practice of psychoanalysis. So, where do the two come together—psychoanalysis and modern forms of labor? This shared axis structures Berlin-based philosopher Samo Tomšič's latest book, The Labour of Enjoyment. Recently, co-founder and publisher of Texte zur Kunst, Isabelle Graw, sat down with Tomšič to discuss the implications of his recent study for the field of art.

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September 2019

Current Issue

Issue No. 115
September 2019

In the current issue of Texte zur Kunst, “Literature,” we explore the emergence of the genre “autofiction”: a field in literature that has taken up space between the formally distinct categories of fiction and autobiography. We explore the writing of many of the most prominent voices collected under the label autofiction, including Annie Ernaux, Rachel Cusk, Deborah Levy, among others, whose works are exemplary in developing a form of writing in which the fictitious ego merges with the voices of others, where these voices potentially stand in for the social more generally.

To the table of contents

10. October 2019
Issue No. 111

The Horror, Vacui by Colin Lang

In the next issue of Texte zur Kunst, "Evil," we look at the forms in which evil occurs in the world today, without prejudice or predetermined ideas. Evil is nothing new, unfortunately, and in a different spirit, editor-in-chief, Colin Lang, examined the limits of criticism vis-a-vis US politics a little more than a year ago in the "Amerika" issue. His question at the time--how to formulate an analysis, to generate a critical language for evaluating authoritarianism 2.0--is sadly still all-too-relevant today. In anticipation of the forthcoming "Evil" issue, we offer this text as a reminder, and measure, for where we are today.

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4. October 2019

Scarlata: The Paintress of Modern Life Ana Vogelfang on Valentina Liernur at Ruth Benzacar, Buenos Aires

The work of the Argentinian artist Valentina Liernur sits squarely between the disciplines of performance and painting, both of which are often suffused in her exhibitions and installations. A new group of Liernur’s work was recently exhibited in their native Buenos Aires, and local artist and architect, Ana Vogelfang, offers her take on the significant of Liernur’s work.

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Artists' Editions

Sterling Ruby, "SUNRISE", 2019

2. October 2019

Art Without a Shadow Sven Lütticken on Walid Raad at the Stedelijk Museum Amsterdam

Amid the controversy surrounding the recent withdrawal of the art prize awarded to Walid Raad by the City of Aachen, we turn our attention to neighboring Holland, where Raad was recently the recipient of his first solo exhibition in the country. As the exhibition closes, Sven Lütticken offers an analysis of the stakes of Raad’s practice beyond the dividing lines of camps and geopolitical crises. Raad’s multifarious practice puts the relationship of the archive and memory into question, building metafictional narratives out of the war-torn past of his native Beirut. In the context of the so-called “crisis of truth,” Raad’s work points away from knee-jerk claims to certainty and documentary fact, instead moving ever deeper into the fundamental void at the heart of any archive.

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23. September 2019

Bending Gravity Melanie Ohnemus über Nora Schultz in der Secession in Wien

Im dritten und letzten Teil des Wien-Rundgangs bespricht Melanie Ohnemus die Ausstellung "would you say this is the day?" von Nora Schultz. In ihrer Installation überschreitet Schultz zeitliche und räumliche Begrenzungen der Secession und fordert die Betrachter*in in ihren Überlegungen zu Gravitation und optischer Wahrnehmung heraus.

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18. September 2019

CURRYING F[L]AVOR: HAVE MENU, WILL TRAVEL Julia Bernard on Rirkrit Tiravanija at the Hirshhorn Museum and Sculpture Garden, Washington, DC

Ever since the emergence of Relational Aesthetics in the 1990s, museums and other collecting institutions have had to think differently about how they commission or acquire works that depend on audiences; where audiences are part of the work itself. No one's practice embodies this challenge more than that of Rirkrit Tiravanija, whose early cooking performances were at pains to turn the elitist space of the gallery into a welcoming event that nourished those in attendance with food and not just nice things to look at. Recently, a new Tiravanija work was acquired by the major Washington, DC institution for contemporary art, the Hirshhorn Museum and Sculpture Garden. Art historian and critic Julia Bernard offers her take on the unusual stakes for food in the spaces of high art.

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11. September 2019

Die Ich-Funktion von Isabel Mehl

Anschließend an unsere aktuelle Ausgabe “Literatur" präsentieren wir einen Text zur Geschlechterpolitik im sogenannten Genre der Autofiktion. Nachdem wir uns also mit der Analyse der Autofiktion beschäftigt haben, wenden wir uns nun der Rezeption und Einordnung von Texten zu, die diesem Genre zugeschriebenen werden. Dabei fallen bekannte und erstaunlich alte Muster auf. Die Wissenschaftlerin Isabel Mehl versteht die Autofiktion als eine taktische Aneignung der Autobiografie durch diejenigen, die bisher von diesem Genre ausgeschlossen waren/sich von diesem ausgeschlossen fühlten. Worin liegt das das kritische Potential dieser Texte, die der strategische Einsatz der Ich-Perspektive eint?

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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.