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Gallery Weekend CFA Berlin Art Cologne Document Woche der Kritik Cahier the map for contemporary art in Berlin Kunstmuseum Basel
21. February 2020

Pedagogical Moments and Their Models Pujan Karambeigi on Christopher Williams at C/O Berlin

What does it mean to establish a critical distance? While the Brechtian strategy of “alienation” sought to control the affective relationship between audience and artwork as a means of pointing “outside,” subsequent artistic practices informed by ideas from postmodernism emphasize instead the need for active “reading skills” on the part of the viewer. This is particularly true of the work of Christopher Williams, who has spent his career navigating photography’s surfaces as a way of exploring external conditions beyond the frame of popular media. Pujan Karambeigi visited a recent exhibition by the artist at Berlin’s C/O gallery.

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14. February 2020

30 Jahre Gender Trouble. Sabine Harks einleitende Worte zum Jubiläumsvortrag von Judith Butler am 31.1.2020 an der TU Berlin

In diesem Jahr stehen mehrere Jubiläen an. Wir feiern nicht nur 30 Jahre Texte zur Kunst sondern auch 30 Jahre „Gender Trouble“ und 10 Jahre Fachgesellschaft für Geschlechterstudien/Gender Studies Association der TU Berlin. Aus letzteren Anlässen fand am 31. Januar 2020 eine Jubiläumsrede von Judith Butler im überfüllten Hörsaal der TU Berlin statt. Wir möchten hier zunächst die einleitenden Worte der Leiterin des ZIFGs, Professor_in Sabine Hark, veröffentlichen, worauf eine kritische Analyse von Butlers Rede folgen wird.

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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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7. February 2020

Beyond the Margin Scott Roben on Anna Bella Geiger at MASP, São Paulo

As a Brazilian artist of Polish Jewish descent, Anna Bella Geiger has a multifaceted identity that cannot be easily parsed within that country’s dominant narratives around national belonging. While her early work focused on formal abstraction, she later went on to explore the potential such nested identities offer for disrupting the totalizing narratives of the colonial with the specificity of individual experience. Scott Roben reports from the first full retrospective of her work, at São Paulo’s MASP.

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Artists' Editions

Jessica Stockholder, "Choices", 2019

31. January 2020

DIE WEISSE UNSCHULD UND DER INSTITUTIONALISIERTE RASSISMUS Gürsoy Doğtaş über „Friendly Confrontations“ in den Kammerspielen, München

Unter dem Titel "Friendly Confrontations. Festival zu globaler Kunst und Institutionskritik kuratiert von Julia Grosse und Julian Warner" fanden vom 16. bis 19. Januar verschiedenste Veranstaltungsformate in den Münchner Kammerspielen statt. Der Kunsthistoriker und Autor Gürsoy Doğtaş berichtet für Texte zur Kunst über das Festival, das es verstand, "diasporische Ästhetiken und Perspektiven" den institutionalisierten Rassismen deutscher Kulturbetriebe entgegenzusetzen.

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24. January 2020

Kontinuitäten des Antisemitismus ein Bericht aus dem Grünen Salon der Volksbühne Berlin von Aram Lintzel

Am 21. Januar 2020 veranstaltete im Grünen Salon der Volksbühne am Rosa-Luxemburg-Platz in Berlin das Forum demokratische Kultur und zeitgenössische Kunst einen Diskussionsabend zur kontrovers geführten Debatte um die BDS-Bewegung im Kunst- und Kulturbereich. Der Autor Aram Lintzel nahm an der Veranstaltung teil und berichtet hier über die verschiedenen Positionen.

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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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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.