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Galerie Neu Berlin Viennacontemporary e-flux Kunstmuseum Basel Berlin Art Prize Cahier HKW the map for contemporary art in Berlin WELTKUNST CFA Berlin
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

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 not-so-heady days of 1990s Relational Aesthetics, museums and other collecting institutions have had to think differently about how they commission or acquire works that depend on audiences; where audiences are, for better or worse, part of the work itself. No one embodies this challenge more than Rirkrit Tiravanija, whose early cooking performances were at pains to turn the elitist space of the gallery into a welcoming event that nourished those attendance with food and not just nice things to look at. Recently, Tiravanija’s work was collected by a major Washington, DC institution, 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. Let’s eat!

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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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4. September 2019

Annie Ernaux Speaks for Herself by Hanna Engelmeier

In conjunction with the very recent publication of our new issue, “Literatur,” we offer a text on one of the great pioneer’s of the so-called genre of autofiction, Annie Ernaux. While Ernaux's books have been translated and read around the world, very little is understood about the crucial role that photography plays in her writing. Cultural studies scholar Hanna Engelmeier unpacks the shrewd art of translating image to text in Ernaux’s most well-known work, The Years (2008), offering a subtle meditation on the work of memory between these two media.

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2. September 2019

Wer hat Angst vor Technofeminismus? Patricia Grzonka über „Hysterical Mining“ in der Kunsthalle Wien

Im zweiten Teil des Rundgangs durch Wien schreibt die Kunsthistorikerin Patricia Grzonka über die Gruppenausstellung „Hysterical Mining" in der Kunsthalle. Diese ist Teil der Vienna Biennale for Change, die vom Wiener MAK initiiert und mit Partnerinstitutionen aus Kunst, Design und Wirtschaft 2019 zum dritten Mal durchgeführt wid. Im Folgenden erläutert Grzonka, inwiefern die Kuratorinnen in Zusammenarbeit mit den gezeigten Künstler*innen einen relevanten Beitrag zu aktuellen technopolitischen Diskursen liefern.

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Artists' Editions

Sterling Ruby, "SUNRISE", 2019

30. August 2019

Aus eins mach viele Sabeth Buchmann über Heinrich Dunst in der Galerie nächst St. Stephan Rosemarie Schwarzwälder

Wir beginnen heute mit einem Ausstellungsrundgang durch Wien, der in der kommenden Woche mit drei weiteren Artikeln fortgesetzt werden wird. Auftakt bildet Sabeth Buchmanns Besprechung einer Ausstellung des österreichischen Künstlers Heinrich Dunst. In ihrer Kritik erläutert Buchmann die Aktualität von Dunsts konzeptueller Umwandlung des analogen Filmmaterials in sozialkritische, sprachliche Rauminstallationen.

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14. August 2019
Issue No. 103

The feelings I Fail to capitalize, I fail Chris Kraus and Ariana Reines in conversation on auto-fiction and biography

In anticipation of the forthcoming September issue of Texte zur Kunst dedicated to literature, and autofiction specifically, we’re making available a recent text from our archives on those very topics. In the “Poetry” issue from (no. 103, Sept. 2016), Ariana Reines interviewed Chris Kraus on the subject of autofiction, among many others. Kraus, the author of several books, including the much-discussed "After Kathy Acker: A Biography" (2017), as well as her own autobiographical tale, "I Love Dick" (1997), offers an early look at a genre of writing, autofiction, that has since put its stamp on the field of literature.

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2. August 2019

Live in Your Head: Notes on Win McCarthy by Josephine Graf

In the context of gentrification and its rapid transfigurations of urban space, where, or how, do we carve out a place for ourselves? The case of New York is exemplary in this regard, with its massive overhauls under the euphemistic moniker of “urban renewal.” With whole neighborhoods, local haunts, and even entire populations either disappearing or being displaced, how do we measure the lasting damage of these changes on the very constitution of oneself, the apparent expendable in the gentrification equation? Curator Josephine Graf considers the work of Win McCarthy with an eye toward these and other effects in the case of Lower Manhattan.

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25. July 2019

Misuse of Military Equipment Jakob Schillinger on “New Order: Art and Technology in the Twenty-First Century” at the Museum of Modern Art, New York

Even the great institutions of modern and contemporary art are not immune from the rush to periodize the recent past, hurried by the ever-increasing development of new technologies and digital platforms. How, then, can one effectively perdioze the very decade in which we still find ourselves, the 2010s? Drawing exclusively from their own collections, MoMA curator Michelle Kuo attempted just such a feat, and Jakob Schillinger here weighs in on the challenges and successes of the resulting exhibition, “New Order: Art and Technology in the Twenty-First Century,” which closed last month in New York. With MoMA slated to open its new expansion in October, the engagement with the recent past will no doubt have a lasting impact on how we see, hear, and understand our relationship to the technologies of the present.

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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.