Sharon Lockhart’s filmic practice combines profound anthropological explorations with investigations into the structure of the medium and its sociocritical potential. Here, Jennifer Lynn Peterson reviews Lockhart’s latest film, EVENTIDE, in the context of some of the artist’s earlier films as well as the present moment: referring to the logic of slow and durational cinema, Peterson underscores the contemplative impact that makes Lockhart’s painterly scenes so productive – especially today, in times of multiple, mutually reinforcing crises. We publish this text to coincide with the opening of Lockhart’s Berlin exhibition at neugerriemschneider, as the new cyanotype paintings and photographs presented there are closely linked to EVENTIDE’s production.

For the first time in over ten years, the late German painter Ull Hohn, who had trained at the Kunstakademie Düsseldorf under Gerhard Richter before moving to New York in 1986, is honored with a comprehensive solo show in the United States. “No Great Mysteries” emphasizes Hohn’s interest in boredom and the mundane as a potential aesthetic register: while previously unexhibited works of enamel and varnish are reminiscent of amateur decorative ceramics, the landscapes on display deploy techniques suggestive of Richter, yet present boring imagery that evokes the televisually mediated comfort of Bob Ross and his painting. While prior exhibitions of Hohn emphasized his interest in degeneracy and abjection, his recent show at Greene Naftali is, as Joel Danilewitz lays out, a banal journey. The title, too, gives into this mission, promising to be so unsurprising and profane as to exhaust any contrived attempts at profundity.

Many contributors to TEXTE ZUR KUNST’s current issue “Trans Perspectives” grapple with the question of representation and the degrees to which it offers help and causes harm. In his work, the artist, writer, and educator J Jan Groeneboer utilizes abstraction to address these issues. For the final iteration of our bi-weekly column “Current Attraction,” however, Groeneboer provides a very personal account of how visualizations of transmasculinity affected his own experience. He also recounts the oftentimes fraught history of such representations, from Brassaï to our present, in which the heightened visibility of trans people coincides with a rise of anti-trans legislation.

Indigenous art often only has a chance to be shown in established galleries if it satisfies a romanticizing interest often held by white audiences. A recent exhibition by Hock E Aye Vi Edgar Heap of Birds in collaboration with Keith Christensen at Open Source Gallery in New York refrained from meeting such interests in favor of advancing a strong political message, as Audra Verona Lambert points out in her review. Drawing attention to the interrelation of imperialistic and capitalist exploitation, to integrated struggles for justice in land and labor, the collaboration of the two artists highlighted the important role Indigenous people have played and continue to play in labor activism.

With the second text of her new TZK column, “Objets Trouvés,” which we publish here at irregular intervals on Mondays, Violaine Huisman takes us on a family trip to the Museo del Prado. The venerable institution is a maze of rooms and corridors, the works exhibited there allow multiple avenues of reception. Her two daughters in tow, Huisman chooses Diego Velázquez’s Las Meninas as a point of departure for a little foray into autofiction. While the children devote themselves completely to the animals and floral patterns within the picture, the writer finds herself transported to her own past.

Amy Sillman is best known for her distinctive process-based oil paintings that combine the figurative with the abstract, but writing also forms a fundamental part of her practice. The artist conceptualizes her own practice in an apt, critically informed manner and situates it in the context of art history with the same apparent ease with which she moves across artistic mediums and methods. It can thus be hard to write about Sillman without also writing in Sillman, Rose Higham-Stainton remarks in her review of the painter’s current exhibition in Naples. Interweaving Sillman’s own words, ideas, and references with observations on a series of new works, Higham-Stainton highlights the temporal dimension of these paintings against the background of the show’s local context.

When conceiving our current TEXTE ZUR KUNST issue “Trans Perspectives,” we asked six artists to each design a double page of our image spread. On the occasion of the second to last iteration of our bi-weekly column “Current Attractions,” the Iranian-born multidisciplinary artist, writer, and educator Katayoun Jalilipour talks about their TZK-commissioned work “Study of Saint Agatha as a Boy, No 4” and their affection for the figure of Agatha of Sicily, a Christian martyr whose breasts were, according to the “Legenda Aurea,” torn off with tongs. In conversation with the London-based writer D Mortimer, Jalilipour describes their re-invention of St. Agatha as a trans masculine saint as a way to write a new narrative that celebrates the cutting of breasts as a choice of bodily autonomy and self-determination.

Die 1975 in Casablanca geborene Künstlerin Bouchra Khalili bedient sich filmischen Methoden des Sammelns und Montierens, um historisch festgeschriebene, geopolitische Narrative und nationalstaatliche Strukturen zu hinterfragen. Im Fokus ihrer Videoarbeiten und Installationen stehen widerständige Bewegungen und marginalisierte Individuen, deren Geschichten Khalili so inszeniert, dass verdrängte Wahrheiten der globalisierten Welt sichtbar werden. Eine aktuelle Ausstellung in Barcelona versammelt eine Auswahl jüngerer Werke Khalilis, die auf die Macht politischer Konstellationen verweisen – aber auch, wie Julian Volz hier betont, auf die Bedeutung konstellativer Ansätze in der Kunst und Kulturtheorie. Mit Blick auf die spezifische Ausstellungssituation im MACBA hebt Volz zudem Potentiale des Konstellativen für die kuratorische Praxis hervor.