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HKW Aby Warburg CFA Berlin the map for contemporary art in Berlin HKW Aby Warburg CFA Berlin the map for contemporary art in Berlin
27. November 2020
Issue No. 91

The Surplus of the Global A conversation between Marion von Osten und Sarat Maharaj

We were deeply saddened to receive the news of the death of Marion von Osten on November 14, 2020. In her memory, we are publishing here a conversation that Marion and Sarat Maharaj had in 2013 for the “Globalization” issue of “Texte zur Kunst.” It explores the work of artists and scholars who have identified courses of action made possible by globalization that allow for the generation of resistant energies. As in the past, the experiences of decolonization and migration prove to be important sources of inspiration for these positions. A paradigmatic example is the art journal “Souffles”, published in Algeria from the late 1960s on, in which the visual languages of the “Informel” art took on a very different meaning than in European postwar art. Focusing the discussion on interactions between persons requires a different historiography, a different methodology, and perspective on economies than the view of the global art business from an ostensible outside position. Only on their basis can we sketch a world map of art.

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25. November 2020

30 YEARS IN 30 DAYS

30 YEARS IN 30 DAYS November 21 to 25

Our anniversary event on the occasion of the 30th birthday of "Texte zur Kunst" entered its second week, this time with videos by: Lolina (a.k.a. Alina Astrova), Nikita Gale, Hanna Magauer, Taylor Le Melle, and Julia Heldt.

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20. November 2020

30 YEARS IN 30 DAYS

ANNIVERSARY EVENT 30 YEARS IN 30 DAYS

Exactly three decades after the inaugural issue of “Texte zur Kunst” was published in November 1990, we return to the question of where the hard-won and still-embattled rights of women* stand. On the occasion of our 30th anniversary, we have invited 30 artists, critics, curators, and theorists of art and culture to create visual and audio statements about a cultural object that they believe is currently of particular interest from a feminist perspective – be it a book, a film, a series, a painting, or other artifact. For 30 days, from November 16 to December 15, these contributions will be posted on Instagram, Facebook, and Vimeo: one post per day. Every Wednesday we will publish the latest videos here on our website.

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September 2020

Current Issue

Issue No. 119
September 2020
„Anti-Anti-Semitism“

In its September issue “Anti-Anti-Semitism,” TEXTE ZUR KUNST takes a clear stand against any form of hostility toward Jewish people. Together with the art historian Sabeth Buchmann, the publisher Isabelle Graw, and the freelance author Aram Lintzel, the editorial team developed the concept for this issue not only to critically reflect on the massive increase in anti-Semitic discrimination but also to focus on the complexity of Jewish art and cultural practices. Anti-Semitism in the art world is discussed here, as well as anti-Semitic implications of the BDS movement and artistic procedures for dealing with anti-Semitism.

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20. November 2020

AKTIVIERENDES UNVERMÖGEN Christian Liclair über „Radikale Passivität: Politiken des Fleisches“ in der nGbK, Berlin

Die neoliberalen Appelle und Ansprüche einer auf „high performance“ und kreativer Selbstverwirklichung getrimmten Gesellschaft sind inzwischen auf eine Weise angestiegen, dass die Bevorzugung der Aktivität zunehmend in Verruf gerät. Stattdessen wächst das Interesse an Phänomenen des Passivischen, wie eine kürzlich zu Ende gegangene Ausstellung in der Berliner nGbK beweist: Passivität wurde hier als produktives Unvermögen gefasst, als ein Mittel, die biopolitischen Einwirkungen auf unsere Körper derart zu transformieren, dass die Vorstellung eines autonomen Subjekts zugunsten von Ästhetiken der Affizierung infrage gestellt wird, wie der Kunsthistoriker Christian Liclair erläutert.

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Artists' Editions

Nicole Eisenman, "Monster Movie", 2020

13. November 2020
Issue No. 64

TEN FRAGMENTS ON A CARTOGRAPHY OF POST-PORNOGRAPHIC POLITICS by Tim Stüttgen

“Why watch porn? Why not? How theorize sex performances? Why not fuck different, instead of idealizing a way back to nature?” The „Post Porn Politics Conference“, that Tim Stüttgen organized at the Volksbühne in Berlin in 2006 started off with a set of questions, critically relating to pornography as a dispositive in a capitalist society, which manifests itself in disciplinary actions leveled at bodies and sexual pleasure. The invited theorists, performers, film makers, musicians and artists responded to notions of performative intervention, political ambivalence and strategies countering the heteronormative orientation of mainstream pornography in ever specific ways – mostly with reference to theories of transgender subjectivity and forms of queer disidentification. The main concern of Tim Stüttgen’s manifesto-like contribution from 2006, which we are now publishing online, is to develop a political perspective on porn within porn – just as much as thoroughly enjoying it.

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11. November 2020

Notes from Quarantine

SPREE-VISIONEN von Hans-Jürgen Hafner

Eine von Monika Grütters, der Bundesbeauftragten für Kultur und Medien, angestoßene und im Sommer veröffentlichte Evaluation der Stiftung Preußischer Kulturbesitz (SPK) zeigt deutlich: Überverwaltung und Unterfinanzierung bestimmen die unter dem Stiftungsdach zusammengefassten Staatlichen Museen zu Berlin. Hinzu kommen prestigeträchtige Bauprojekte wie das für 2026 geplante Museum der Moderne, die umstrittene Kooperation der SPK mit der Stiftung Humboldt Forum und der endgültige Abzug der Flick Collection aus dem Hamburger Bahnhof. Im 30. Beitrag unserer Kolumne „Notes from Quarantine“ analysiert der Autor Hans-Jürgen Hafner diverse Kollateralschäden einer neoliberalen Kulturpolitik, für die die Pandemie-bedingte Krise einmal mehr als Vergrößerungsglas fungiert.

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6. November 2020

TOTE SCHREIBEN BESSER Diedrich Diederichsen über Roberto Bolaños „Cowboygräber“

„Als ich zu Hause ankam, sagte ich zu meinem Vater, ich hätte meine Arbeit in Sonora gekündigt. Ich tauge nicht für so was, sagte ich. Was willst du stattdessen machen?, fragte mein Vater. Die Revolution, sagte ich. Welche Revolution?, fragte mein Vater. Die amerikanische Revolution natürlich, sagte ich.“ Auch im neusten, posthum erschienenen Erzählungsband „Cowboygräber“ des chilenischen Schriftstellers Roberto Bolaño scheinen die Figuren meist nicht richtig zu wissen, wie sie irgendwo hingeraten sind, wie ihnen dort geschieht. Das ist manchmal kokett, aber auch stets sweet, findet Diedrich Diederichsen und zeigt auf, dass das Autobiografische an Bolaños Werk von ganz anderer Art ist als das der kurrenten Autofiktion.

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4. November 2020
Issue No. 84

Post-Feminism ... Post-Gender? by Pamela M. Lee

Linda Nochlin’s question, “Why have there been no great women* artists,” is widely regarded as having launched feminist art history. 50 years after Nochlin’s survey, the time has yet again come to take stock: What significance, if any, does gender have for art scholarship today? In which ways does the concept still serve as a category in feminist art-history? And how does it change in light of queer theory? On the occasion of our December issue on feminism, we are again sharing Pamela M. Lee’s text from “Texte zur Kunst’s” 2011 issue on the same topic. To claim that we are living in post-feminist times, Lee argues, would be an overly optimistic and therefore dangerous diagnosis of the rights of women*, which have long been fought for but remain under threat.

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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.