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CFA Berlin AB24 ZAW 2024 Philara Sumi Anjuman VVC7 CFA Berlin AB24 ZAW 2024 Philara Sumi Anjuman VVC7
17. May 2024

EVEN IF THIS CAN’T BE WITNESSED Max L. Feldman on Michelangelo Pistoletto at Castello di Rivoli, Turin

One might, admittedly, be tempted to dismiss Michelangelo Pistoletto as an eccentric or as a precursor of the new age industrial complex that took shape in the 1970s. But this proves to be too reductive, as Max L. Feldman lays out in his review of the artist’s recent retrospective “Molti di uno” (Many of one). Reading the exhibited works against the background of both Pistoletto’s own esoteric manifestos and writings by Gilles Deleuze, they become explicable in terms of metaphysics and higher mathematics.

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14. May 2024

RENÉ POLLESCH (1962–2024) Von Arnd Wesemann

Nachdem René Polleschs Stück Entertaining Mr. S. – Rip Off vor gut 30 Jahren auf der Probebühne des TAT Frankfurt am Main uraufgeführt wurde, rezensierte es sein einstiger Kommilitone – der Tanzjournalist Arnd Wesemann – für die taz. Zwar ist es ein trauriger Anlass, aus dem Wesemann sich nun nochmal an das Stück und an weitere frühe Werke Polleschs erinnert. Aber seine Anekdoten und anschaulichen Charakterisierungen machen den ein oder anderen Theaterabend in der eigenen Erinnerung wieder lebendig.

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March 2024

Current Issue

Issue No. 133
March 2024
„Restitution“

As recent debates have shown, restitution can hardly be conceived as merely the return of looted objects. While grounded in the current political moment, restitutions unfold in relation to the past: a complex set of circumstances that they can never undo. This interplay of power relations involved in dealing with claims to pieces of cultural heritage is explored in this issue of TEXTE ZUR KUNST. Past instances of repatriating cultural assets illustrate the multidimensionality of negotiations that pave the way for restitution, and of the processes of integration that follow. The scholarly and artistic contributions to this issue also sketch the challenges and potentials of restitution.

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10. May 2024

RESTRUCTURING IMAGINARY SPACE Nika Grabar on Dorit Margreiter Choy at Charim Galerie, Vienna

For her recent exhibition “A Structure” at Charim in Vienna, Dorit Margreiter Choy combined her recent film about the Bata tower in the Czech city of Zlín with (re)assembled pieces stemming from two previous, site-specific artistic interventions. All three projects emerged out of Margreiter Choy’s involvement with specific architectural sites, yet each work is, as the architecture historian Nika Grabar lays out, inscribed with movement, which becomes a structuring element in this exhibition.

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10. May 2024

Seen & Read

CLAUDE MONET, ELIZA DOUGLAS, RAINALD GOETZ Seen & Read – by Isabelle Graw

Claude Monet’s eventful biography, his work and milieu, newly illuminated by Jackie Wullschläger; Eliza Douglas’s “Schleifenbilder,” currently on show at Contemporary Fine Arts in Berlin; Reinald Goetz’s recent mellowness and his observations on #MeToo, as seen in excerpts from his work diaries, recently published by Merkur: a three-strong se-lection of the cultural artifacts on Isabelle Graw’s radar, set out here in the latest round of “Seen & Read.”

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Artists' Editions

Jutta Koether, "Analogue Drive", 2024

3. May 2024

PERFORMANCE OHNE PROTEST Freda Fiala über „Unbound: Performance as Rupture“ in der Julia Stoschek Foundation, Berlin

Vor einem Jahr stellte die Julia Stoschek Foundation dem Berliner Publikum das Werk von Ulysses Jenkins vor, der seine performative Auseinandersetzung mit Schwarzer Identität aufzeichnete und so über das Los Angeles der 1970er und 1980er Jahre hinaus rezipierbar machte. Mit dem medialen Spannungsverhältnis zwischen unmittelbarer Kunst der Performance und vermittelnder Funktion der Kamera befasst sich nun die aktuelle Schau, die ihren Fokus jedoch geografisch wie zeitlich ausdehnt. Wie Freda Fiala herausarbeitet – und dabei produktive Begriffsarbeit leistet –, zeigen viele der Werke ein individuelles Abarbeiten an Körperbildern. Kollektivere Zugriffe auf eine Sichtbarmachung von Marginalisierungssystemen blieben jedoch außen vor.

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2. May 2024

RENÉ POLLESCH (1962–2024) Von Renate Lorenz

Die große Gedenkfeier an der Volksbühne ist vorbei, doch unsere kleine Reihe an Nachrufen für René Pollesch geht weiter. Den dritten Text hat Renate Lorenz verfasst, die sich an gemeinsame Studienzeiten in Gießen in den 1980er-Jahren erinnert – und an ein Wiedersehen in den frühen Nullerjahren in Berlin. Vielleicht tröstet der Gedanke, dass geistige Verbindungen Raum und Zeit überbrücken, ein wenig über die Lücke hinweg, die Polleschs Tod längst nicht nur in der Queer Community und seinem direkten Umfeld hinterlässt.

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26. April 2024

Seen & Read

KATHARINA WULFF, JÜRGEN HABERMAS, DANA VON SUFFRIN Seen & Read – by Isabelle Graw

In this edition of “Seen & Read,” Isabelle Graw discusses one exhibition and two books, with all three providing different yet related insights into recent history. The Katharina Wulff paintings recently shown at Galerie Neu in Berlin revisited the aesthetics of East Germany’s later years. Philipp Felsch’s book on Jürgen Habermas shines a light on the philosopher’s biography and work, but also on the intellectual life of West Germany. Dana von Suffrin’s new novel narrates a family history replete with multiperspectival memories of “modern Jewish life between Munich and Tel Aviv.”

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26. April 2024

ALMOST CONCEPTUAL Luise Mörke and Tobias Rosen on the 13th Taipei Biennial

While the first iterations of the Taipei Fine Arts Museum’ biennial presented exhibits selected by a jury, the show quickly adopted a curator model. Since 1998, teams of international and Taiwanese curators have been sharing contemporary art with their audiences. With the last few editions in mind, Luise Mörke and Tobias Rosen notice a shift in the conceptual approach applied to the exhibition format: theory no longer seems to be the driving force. What holds “Small World” together instead becomes clear as they walk their readers through the show.

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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.