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AAS CFA Berlin the map for contemporary art in Berlin Unpainted Kunsthalle Bern Gallery Weekend Berlin
16. April 2021

DIFFERENCE AND REPETITION Harry C. H. Choi on Haegue Yang at the National Museum of Modern and Contemporary Art, Seoul, Korea

Air and water, two chemicals vital for life, establish the conceptual thread around which Haegue Yang’s recent solo exhibition in Seoul revolved. These two elements, however, remained elusive in the galleries; the artist’s eponymous sculpture was conspicuously absent, though not by oversight. Art historian and curator Harry C. H. Choi examines the significance of this choice, pointing to the artist’s practice of experimentation, association, and variation. At the MMCA, Yang’s experiments comprise a trial for their own sake, writes Choi, displaying an expansionist approach that will persist until she approaches a perhaps implausible end of complete exhaustion.

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14. April 2021
Issue No. 92

CLEVES AND TARTARS Sven Lütticken on H. P. Riegel’s biography of Joseph Beuys

In almost exactly one month, Joseph Beuys would have turned 100. To mark the occasion, around 20 museums and cultural institutions are dedicating themselves to the work of the controversial artist in a wide range of exhibitions, performances, theater, music, and teaching events. A biography on Beuys was published a few years ago and was widely discussed by the art world and in the feuilleton sections of newspapers: H. P. Riegel investigates the artist’s ties to National Socialist Germany, his highly problematic views on German history, and the self-mythologization that pervades his statements. Does this mean that Beuys’s practice should be rejected altogether? In a work so closely linked to the artist’s persona, often read through his own autobiographical interpretation of materials and motifs, we can barely separate the artist’s work form his ideology. What could Beuys still represent today for critical discourse? We are republishing here a text by Sven Lütticken from 2013 in which he reflects on a difficult reception.

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9. April 2021

BREATHING IN THE INVISIBLE Polly Yim on Tiffany Sia at Artists Space, New York

The Anti-Extradition Bill Protests in Hong Kong, which began in early 2019 and continued well into 2020, unfolded for many of us on screen, across social and news media feeds in highly spectacularized form. Reaching across distances, vanishing fault lines, and intersecting time zones, Tiffany Sia’s exhibition “Slippery When Wet” considers the implications of this mediation and deals with somatic experience in the midst of looming political transformation. Artist Polly Yim examines Sia’s works in the context of Hong Kong’s moment of uncertainty, loss, and grieving, writing that the act of viewing is implicitly powerful as crisis unfolds.

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March 2021

Current Issue

Issue No. 121
March 2021

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.

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7. April 2021

This Is Tomorrow


Since the start of the pandemic, our lives have increasingly been hosted online: for many of us, work and school convene in some combination of Zoom and cloud “solutions,” and private social interactions are mediated through screens, facilitated by a seemingly infinite selection of software. There are serious data privacy concerns that come with digital life, as well as copyright restrictions that are often monitored by automated systems. This can create particularly frustrating hurdles in cultural criticism or pedagogy. Art historian and author of the book, “Is It Ours? Art, Copyright, and Public Interest,” Martha Buskirk examines the implications and pitfalls of overly aggressive content filtering, writing here about the international discrepancies across legal frameworks that govern digital space.

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Artists' Editions

Amy Sillman, "Flowers for TzK", 2020

31. March 2021

This Is Tomorrow

HUSH, HOLD by Quinn Latimer

Viewing art – or, more precisely, visiting exhibitions – under the conditions of the pandemic is often a test of patience and organization. The euphoria of recent reopenings was quickly extinguished as a new wave in Europe forces closures to be reinstated. Here, author Quinn Latimer retraces a recent excursion, narrating her thoughts and prescribing a salve for their breathless pace: go back to the lake. Open the book. Approach the object, the image, the wall. Let it hold you. Let it hush you in its expert relation, if just for a bit. Hush, hold.

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26. March 2021

ALL DERIVATION PERMITTED Estelle Nabeyrat on Jacqueline de Jong at Treize, Paris

A member of the Situationist International (SI), Jacqueline de Jong has more recently garnered international attention in her own right. Her latest exhibition at Treize in Paris included work across media as well as ample archival material, offering a crucial synthesis of de Jong’s artistic practice, her work on “The Situationist Times,” and her relationship to the SI. Curator and critic Estelle Nabeyrat visited the show and considers here its relevance to the current political moment.

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24. March 2021

This Is Tomorrow


The age of pandemic-induced lockdowns has confronted many artists with the challenge of continuing their production even as exhibitions, art fairs, and biennials are canceled until further notice. For Amy Sillman, 2020 brought unprecedented productivity. In the spring, as the virus began to spread and Sillman was temporarily unable to go to her painting studio in New York, she responded to the novel situation, which called for improvisation, by sitting at her kitchen table every morning and painting floral still lifes: a bouquet of peonies, a single sunflower hanging its head, or, as we can see here, a bundle of irises. Making art in the pandemic – an image series by Amy Sillman.

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17. March 2021

This Is Tomorrow

KEIN SPAZIERGANG Von Helene Hegemann

Zwar hat das Medium Spaziergang Corona-bedingt Konjunktur. Essenseinladungen sind aber auch in der Pandemie keine Seltenheit. Doch über was wird im Lockdown eigentlich (noch) gesprochen? In ihrem Essay zeichnet die Schriftstellerin Helene Hegemann das Bild eines Dinners, bei dem über Clubhouse sinniert wird, über Hugh Hefner und Paul Preciado, und darüber, was Elon Musk täte, hätte er einen Hund. Das Schönste an Corona? „Der Schnelltest.“

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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.