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Cahier the map for contemporary art in Berlin Kunstmuseum Basel Document CFA Berlin Cahier the map for contemporary art in Berlin Kunstmuseum Basel Document CFA Berlin
17. January 2020

Gezwungenermaßen „cool“ Hans-Jürgen Hafner über Michael Franz in der Kienzle Art Foundation, Berlin

Wenn wir uns in der kommenden Ausgabe mit dem warenförmigen Charakter von Kunst im Hinblick auf Eigentumsfragen auseinandersetzen, so steht diese Diskussion auch im Zusammenhang mit der Frage: Welchen Zweck haben Ausstellungen, bzw. welcher wird ihnen auferlegt und inwiefern hat sich dieser in der letzten Dekade verändert? Der Kunstkritiker Hans-Jürgen Hafner geht dieser Frage im Folgenden anhand Michael Franz` aktueller Ausstellung in Berlin nach.

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10. January 2020
Issue No. 91

Asynchronous Objects

(By Susanne Leeb)

Under the title “The Issue of Property,” the March edition of Texte zur Kunst will address this huge topic in all its forms. The central focus will be on the question of where ideas of property as representing self-ownership and self-availability intersect with the colonialist consequences of this Western capitalist understanding of what it means to own something. Among other things, this ties into the debate around the idea of restitution as previously discussed in our 91st issue, where the art historian Susanne Leeb brought together several voices to discuss the subject of “Globalism.” We would therefore like to now once again present her text from that issue, which kicked off the main section back in 2013.

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December 2019

Current Issue

Issue No. 116
December 2019

"EVIL," the theme of this latest issue of TEXTE ZUR KUNST is often understood as simply the opposite of “good,” and as pure immorality, evil is everywhere today, and somehow also nowhere. It is the “other” par excellence; something we ourselves never are, but by which one always measures one’s own distance. “Evil is over there, not here, not with me.” Given its ubiquity today, we offer texts that investigate what this thing we call “evil” is, as it so often functions as the polar opposite of that which people hold to be just and right. Indeed, who could argue that point, and yet. In this issue, we look specifically at evil’s manifestations in the art world, and in film, politics, and theory, always with an eye toward evil as something potentially playful and ironic.

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19. December 2019

Spielerische Unaufgeregtheiten Rainer Bellenbaum über Filme der Viennale 2019

Von Ende Oktober bis Anfang November 2019 fand das Wiener Filmfestival, die „Viennale“, statt. Im Gegensatz zu den grellen Bildabfolgen schnellproduzierter Netflixserien, bot das Festival einen ruhigeren Ansatz innovativer Erzählformen von internationalen Regisseur*innen. Rainer Bellenbaum analysiert diese erzählerische Unaufgeregtheit, die der Internetkonkurrenz abhanden gekommen zu sein scheint, bzw. die das Kino als Ort weiterhin unabdingbar macht.

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13. December 2019

That Sinking Feeling Rachal Bradley on Rachel Reupke at TG, Nottingham

The idea that large cities exist in a state of constant change is something of a tautology, but it’s certainly true that some change at a faster rate than others. Nowhere in Europe is this more evident than in London, where rapid development and gentrification have radically impacted both the look of the city and its residents’ experiences of living in it. Here, artist Rachal Bradley reports from an exhibition that drew upon an unusual news story in the British capital in order to explore the point where the physical effects of urban infrastructure meet its affects.

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Artists' Editions

Jorinde Voigt, "Edition Immersive Integral Turn Study II", 2019

10. December 2019


As a city built upon water, Venice has always projected a dual image of enormous cultural wealth and physical precarity that has at times provided a useful reference point for works appearing in the Biennale. But as annual flooding in the city approaches unsustainable levels, the long-term viability of both Venice itself and of international art tourism more generally is being seriously called into question. Niko Vicario visited the Biennale in its closing weeks and found himself wading through murky waters both literal and figurative.

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4. December 2019

Induced Demand: MoMA Reopens by Julia Pelta Feldman

While the expansionist logic of large-scale art institutions continues, they currently face mounting pressure from two fronts: criticized, on the one hand, for the exclusionary nature of the “canon” they helped to determine, while at the same time increasingly being called to account for the behavior and business activities of their board members and trustees. Julia Pelta Feldman paid a visit to the reopening of a true behemoth, New York’s Museum of Modern Art, to cast a critical eye over its new permanent collection.

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26. November 2019

Learning from Kippenberger? Isabelle Graw on Martin Kippenberger at the Bundeskunsthalle Bonn

The name “Kippenberger” stands for an intertwining of a seemingly excessive lifestyle and untiring art production. While this model still has its merits, it needs to be historicized if we are to understand what was at stake in it. While some of his methods still seem topical today, others demand to be revised – especially in times of #MeToo and the current political shift to the right.

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7. November 2019

BREITENGRADE EINES WENDEPUNKTS Agnieszka Roguski über „Point of No Return. Wende und Umbruch in der ostdeutschen Kunst“ im Museum der bildenden Künste, Leipzig

In ihrem Statement, das wir auf diesen Seiten im März 2019 veröffentlichten, beschrieb Suse Weber wie Ost-/Westerfahrungen in Kunstinstitutionen bis heute wenig aufgearbeitet und vielmehr als Identitätseinschreibung funktionalisiert wurden. Nun stehen die Feierlichkeiten zu 30 Jahre Mauerfall an, zu denen das Museum der bildenden Künste Leipzig mit "Point of No Return" eine Ausstellung zu Werken zeigt, die sich mit den Ereignissen um das Jahr 1989 beschäftigen. Die Autorin Agnieszka Roguski fasst hier kuratorisch gelungene, aber auch verpasste Aspekte zusammen.

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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.