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Kunsthalle Zürich CFA Berlin Staedelschule Lectures Woche der Kritik 2023 Kunsthalle Zürich CFA Berlin Staedelschule Lectures Woche der Kritik 2023
27. January 2023

AUTO EROTICS Brit Barton on Pippa Garner at the Kunstverein München

In hardly any other context does the excess of consumer culture emerge in such clear physicality as in the US automobile industry of the 1960s, with its most brawny car models subsequently dubbed “muscle cars.” It was in this environment, where unbridled capitalism met burgeoning countermovements, that Pippa Garner began to thematize the relationship between human body and car in her work – first as an industrial designer, later as an artist who, with a critical eye on the industry’s commodity fetish, referred not least to the body politics of a system that pushes the subject into binary role models. As Brit Barton points out, the comprehensive look into Garner’s progressive practice now provided by a series of exhibitions beginning in Munich was long overdue.

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27. January 2023

HANDLUNGSSPIELRÄUME ZWISCHEN 1933 UND 1945? Wolfgang Ruppert über Nazikünstler und die Weiterexistenz von Ästhetischer Individualität

Die aktuelle Ausgabe von „Texte zur Kunst“ unterzieht mit „Art History Update“ tradierte kunsthistorische Annahmen und Narrative einem kritischen Blick. Hierunter fallen auch die sich nunmehr ausdifferenzierenden Auffassungen von Künstler*innen und deren Schaffen während der Nazidiktatur. Bisher stellte die Kunstgeschichte oft entweder die Möglichkeiten „moderner“ Bildfindungen infrage oder nahm eine intrinsische Verbindung bestimmter stilistischer Strömungen mit demokratischen Werten an, was nicht zuletzt durch das Beispiel Emil Noldes entkräftet wurde. Bezugnehmend auf die Ausstellung „Kunst für Keinen“, die vergangenes Jahr in der Schirn Kunsthalle Frankfurt gezeigt wurde, vertieft Wolfgang Ruppert seine langjährige Auseinandersetzung mit Künstler*innenbiografien der Weimarer Republik, des NS und der Nachkriegszeit. Hier verdeutlicht er anschaulich die Diskrepanz, die zwischen tradierten stereotypen Vorstellungen und der tatsächlichen Vielfalt von kreativer Arbeit zwischen 1933 und 1945 besteht.

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December 2022

Current Issue

Issue No. 128
December 2022
„Art History Update“

This December issue of Texte zur Kunst attempts an “update” of art historical methods, which have been regularly reflected upon since the publication’s founding. The pressing questions of the moment not only ask whether the discipline is able to come to terms with its own history, including its inherent sexisms, racisms, and classicisms, but also whether the development of scholarly practices that advance the equality of different viewpoints and epistemologies is possible. The contributions collected in this issue lay bare art history’s still-existing entanglement in Eurocentric perspectives and propose alternative methodological and theoretical approaches to an expanded field of subject matter.

To the table of contents

25. January 2023

Current Attractions

I DON’T KNOW IF YOU’RE BREATHING BUT IT’S BEAUTIFUL Rose Higham-Stainton on some experimental video footage from Just Above Midtown (JAM)

What cannot be neatly categorized is often given short shrift in art historical canonization. Thus it is all the more gratifying to see idiosyncratic projects receive institutional recognition despite, or precisely because of, their recusant character. In the newest iteration of our column Current Attractions, where authors from different disciplines discuss a cultural object or practice that relates thematically to our current issue (“Art History Update”), Rose Higham-Stainton reflects on a video that is currently on view at MoMA as part of the survey “Just Above Midtown: Changing Spaces.” Occupying an intermediate position between archival material and artwork, the footage is exemplary for demonstrating the disruptive work of the iconic New York art space, which itself defied clearcut categorization.

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20. January 2023

NIKI’S WRATH Live Drønen on Niki De Saint Phalle at Henie Onstad Kunstsenter, Høvikodden

Throughout the previous decade, the art wold witnessed a renewed interest in Niki de Saint Phalle’s work. By locating her famed Nanas or “shoot paintings” in the broader context of her practice and art history, a range of comprehensive retrospectives took a nuanced approach to what had previously been a very limited interpretation. While the exhibition at Henie Onstad does not significantly differ from these previous iterations, Live Drønen identifies a particular emphasis on the violence and anger that fueled so much of Saint Phalle’s work, which is framed as a painful, transformative, and powerful potential – perhaps even as a feminist claim to aggression in face of both universal and personal violence.

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Artists' Editions

Gerhard Richter, "Manöver", 2022

20. January 2023

REFLEXIVE INFRASTRUKTUREN Romina Dümler über Reinhard Mucha in der Kunstsammlung Nordrhein-Westfalen (K20 Und K21), Düsseldorf

Reinhard Muchas Installationen und Skulpturen verbinden Gebrauchsgegenstände, Memorabilia, Archivalien und autobiografisches Material zu beziehungsreichen Reflexionen soziopolitischer und institutioneller Strukturen. Kontinuitäten sowie Brüche in der Geschichte der Bundesrepublik thematisierend, verweist Muchas Werk zunächst vor allem in die jüngere Vergangenheit und damit auf den eigenen Entstehungskontext. Indem der Künstler seine Arbeiten jedoch immer wieder aktualisiert und individuelle Erfahrungen mit kollektiven vernetzt, gelingt es ihm, intergenerationell relevant zu bleiben, argumentiert Kunsthistorikerin Romina Dümler mit Blick auf die umfassende Überblicksschau, die noch bis Sonntag in Düsseldorf zu sehen ist.

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16. January 2023

VELVET VOICE CLUB 1: ART HISTORY UPDATE With Kate Brehme, Charlotte Matter, and Eric Otieno Sumba; moderated by Christian Liclair

What can art history still achieve? Is the discipline inextricably entangled in colonial and sexist structures? Or can it be reutilized to critically reappraise systems of oppression and their respective narratives? For the kick-off event of the new series “Velvet Voice Club” in early December 2022, the editors of TEXTE ZUR KUNST invited curator and arts educator Kate Brehme (Berlin), art historian Charlotte Matter (Zurich), and social theorist and political economist Eric Otieno Sumba (Berlin/Kassel) to Roter Salon, Volksbühne am Rosa-Luxemburg-Platz, to discuss these questions and speak on the various intersections between crip studies, queer feminism, postcolonial studies, and art history.

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13. January 2023

DIE INSTITUTION ALS KOMPLIZIN Kathrin Heinrich über Jean-Michel Basquiat in der Albertina, Wien

In Reaktion auf die Retrospektive des New Yorker Whitney Museums lieferte bell hooks mit ihrer Kritik in Art in America vor 30 Jahren zugleich eine Anleitung für weiße Kurator*innen, mit dem Œuvre Jean-Michel Basquiats verantwortungsvoll und sinnstiftend umzugehen. Seither wurde viel Arbeit geleistet, die zu kunsthistorisch produktiven, rassismuskritischen Ausstellungen führen könnte. Basquiats jüngste Werkschau in Wien beharrt jedoch auf einem Narrativ, das die patriarchale Genieerzählung mit der rassistischen Idee der exzentrischen Ausnahmeerscheinung unreflektiert verschränkt. In ihrer Rezension legt die Kunsthistorikerin Kathrin Heinrich weitere Versäumnisse der Ausstellung offen, aufgrund derer wichtige Signale für Publikum und Kunstbetrieb ausblieben.

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13. January 2023

ON THINGIFICATION, AMONG OTHER THINGS Jazmina Figueroa on the 15th Triennial of Small Sculpture Fellbach

Through the highly contested debates around restitution, the Western understanding of the items in its collections continues to be challenged. No longer merely prized possessions, objects are increasingly perceived as agents in history. Adding to this current discourse, the last iteration of the Fellbach Triennial introduced contemporary small sculpture as active matter, thereby probing conceptions of ownership and responsibility. Examining Western institutional approaches to decolonial projects from a critical distance, writer Jazmina Figueroa reviews the artistic positions, taking up Aimé Césair’s concept of thingification, which makes visible the colonial violence of denying subjecthood.

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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.