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CFA Berlin AAS Taxispalais_Innsbruck_Iman_Issa the map for contemporary art in Berlin CFA Berlin AAS Taxispalais_Innsbruck_Iman_Issa the map for contemporary art in Berlin
March 2021

Current Issue

Issue No. 121
March 2021
„Comedy“

The March issue of Texte zur Kunst, titled “Comedy,” investigates the comedic in art while also examining mass-media formats such as TV series and films. Comedy not only offers consolation and comfort by making the tragic seem comic; for the repressed, it also serves as a catalyst, addressing and thematizing repression through jokes, slapstick, or the grotesque. However, at a time when audiences increasingly demand political commitment and authenticity from art, comedic speech, which is inherently disingenuous, has fallen into disrepute: ironically distanced rhetoric is accused of turning a blind eye to social inequality. Together with Bert Rebhandl, author and co-publisher of the film magazine cargo, the editors conceptualized an issue that examines the role of the joke in art, the psychoanalytic dimension of the comedic, and the limits of satire in the age of Donald Trump.

To the table of contents

5. March 2021

I SPY WITH MY LITTLE EYE Maximiliane Leuschner on Heba Y. Amin at the Mosaic Rooms, London

Berlin-based artist Heba Y. Amin works across a broad range of media, creating meticulously researched installations that treat sensitively questions of colonialism, democracy, surveillance, and censorship. Amin’s exhibition at The Mosaic Rooms is the artist’s institutional debut in the UK, and art historian Maximiliane Leuschner managed to catch it in London before the latest lockdown. While the exhibition can, at times, seem to lend itself to a British-centered reading, writes Leuschner, this isn’t representative of her oeuvre, but rather is characteristic of Amin’s dynamic practice, which the artist thoughtfully adapts to engage specific contexts and histories.

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3. March 2021

This Is Tomorrow

PUTTING IN THE WORK By Dana Kopel

In 2019, employees in museums and cultural institutions across the United States began unionizing in order to secure fair, livable wages and basic labor protections that often aren’t already in place. The wave of organizing has continued amid the pandemic – which has only exacerbated precarious labor conditions and underscored the importance of unions – and it took on new urgency as the Black Lives Matter movement again exposed the racial inequity in museums. Writer and union organizer Dana Kopel reports here on the recent developments, arguing that the changes being pushed for in art institutions are intrinsically connected to larger processes and global injustices.

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26. February 2021

THE CASTLE, THE PALACE, THE MIRAGE Pablo Santacana López on Esper Postma’s “Mirror Stage” at Gropius Bau, Berlin

The recently reconstructed Berliner Schloss and the Humboldt Forum, the institution now housed within it, have been rife with controversy. The development of this site – from the Hohenzollern residence to the German Democratic Republic’s Palast der Republik to the rebuilt and repurposed Schloss – is the subject of Esper Postma’s recent installation, “Mirror Stage,” created in residence at Gropius Bau with the Berlin Program for Artists. With his meticulous recreations of fragments of each building, Postma revives the controversy with this installation, writes Pablo Santacana López, arranging literal confrontations that produce a nostalgic specter of the past.

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24. February 2021

This Is Tomorrow

NOTIZEN ZU KIND UND KRISE Von Elena Meilicke

Vielfach wurde in den vergangenen Monaten diskutiert, welche Herausforderungen sich aus der Pandemie für Erziehungsberechtigte ergeben und welche Effekte die Krise bereits jetzt auf Kinder und Jugendliche hat bzw. langfristig haben wird. Als Corona vor einem Jahr in Deutschland ankam, war Elena Meilickes Tochter gerade mal ein halbes Jahr alt und ging noch nicht in die Kita. Die neue Erfahrung, ein kleines Kind zu haben, vermischte sich für sie daher mit Veränderungen im Leben durch die Pandemie. Was hat sich zwischen den beiden Lockdowns verändert und wie sollen gesellschaftstheoretische Prognosen angestellt werden, wenn es zum Denken eigentlich immer viele braucht? Über das Erschaffen neuer Routinen und Räume im Leben mit Kind während der Pandemie.

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Artists' Editions

Ross Bleckner, "As it Goes", 2021), (single work

19. February 2021

INTIMITÄT IM VERPIXELTEN MINIFORMAT Tyna Fritschy über „Intimacy: New Queer Art From Berlin And Beyond“ Im Schwulen Museum, Berlin

Was heißt es, ein Review über eine Ausstellung zu schreiben, deren Eröffnung aufgrund von Corona digital stattgefunden hat, von der dann aber letztlich wegen technischer und medialer Einschränkungen kaum etwas einsehbar war? Tyna Fritschy stellt sich diesem Wagnis am Beispiel der Ausstellung „Intimacy: New Queer Art From Berlin And Beyond“ im Schwulen Museum, Berlin. Dabei schildert sie nicht nur, welchen Angriff die rein digitale Kunstvermittlung auf die Rituale des Ausstellungsbesuchs darstellt. Auch droht, so Fritschy, angesichts des Mangels an visueller Information über die gezeigten Arbeiten eine Überbetonung ihrer inhaltlichen Aspekte. Dass die Ausstellung zudem queere Intimitäten verhandelt und den technologischen Aspekt des Intimen kaum ausleuchtet, mag unter der pandemiebedingten Übertragung ins Digitale umso ironischer anmuten. Wieviel „Neues“ steckt also tatsächlich in der „New Queer Art“ betitelten Show?

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17. February 2021

This Is Tomorrow

SMALL EXPERIENCE By Tey Meadow and L.A. Paul

The pandemic and, more specifically, the conditions of life and labor under the conditions of lockdowns have necessitated shifts in the performance of daily rituals. Among them, write sociologist Tey Meadow and philosopher L.A. Paul, is a change in how we think about and experience our lives, and by extension, ourselves. Meadow and Paul collaborated on this contribution to our column, “This Is Tomorrow,” juxtaposing their respective lockdown experiences, each transformative in its own way, and reflecting on the things that emerge in the absence of many familiar features of social life.

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12. February 2021
Issue No. 82

The Joke of Painting Alexander Alberro on David Hammons at L&M Arts, New York

Art has largely banished its minor stepsiblings, such as caricature and the comic strip, from its entourage, thus David Hammons’s sense of humor makes him the exception among artists. In the 1980s, he marketed well-shaped quasi-serial snowballs in the street; more recently, he has taken to launching grand attacks against the art business in a recourse to Abstract Expressionism. On the occasion of our March issue, themed “Comedy,” which investigates the comedic in art and in mass-media formats such as TV series and films, we are republishing a text by Alexander Alberro from 2011 on David Hammons’s ironic commentary on lived experience of urban life in the US and on the operation of the contemporary art world.

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10. February 2021

This Is Tomorrow

DAS GEMEINSAME LEBEN Von Heinz Bude

Das gemeinsame Leben ist weder ausschließlich das private noch ausschließlich das öffentliche Leben. Es ist das Leben in Gemeinschaft, das nur durch den Kontakt mit und in der Angewiesenheit auf andere entsteht – seien dies Nachbar*innen, Passant*innen oder Arbeitskolleg*innen, Menschen, denen man zufällig oder mit Absicht begegnet. Manche dieser Kontakte mögen trivial sein, mache unangenehm, doch in Summe sind sie das, was den Alltag auf der Straße, in der wir wohnen, und in dem Viertel, in dem wir einkaufen, und an dem Ort, den wir als Lebensmittelpunkt gewählt haben, entschieden mitbestimmt. Der Soziologe Heinz Bude spürt in seinem Beitrag diesen geteilten und vertrauten Praktiken nach, die im Lockdown verloren zu gehen drohen.

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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.