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GWG 2024 CFA Berlin Frühling 2024 AB24 GWG 2024 CFA Berlin Frühling 2024 AB24
12. April 2024

Seen & Read

HANS-CHRISTIAN DANY, NAM JUNE PAIK, CALLA HENKEL Seen & Read – by Isabelle Graw

This latest edition of “Seen & Read” takes us from the artist and author Hans-Christian Dany’s overshadowed-by-guilt Hamburg childhood and youth to the tropics of Florida, where a current exhibition full of flickering screens sheds light on Nam June Paik’s Miami years. From the city airport, where Paik’s sculpture TV Miami was removed long ago, the journey continues via a travel bookstore before taking a rapid detour into the tense plot twists of Calla Henkel’s thriller Scrap.

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12. April 2024

MARKET FORCES Claire Bishop on Kate Crawford and Vladan Joler at Fondazione Prada and Hannah Hurtzig at La Pelota, Milan

The popularity of research-based art is often associated with the increase in doctoral programs in art education, which began in the early 1990s, particularly in Europe. The variety of approaches this practice encompasses has been growing steadily since, and Claire Bishop has been exploring this phenomenon for some time. In Milan, she recently took a close look at the exhibition “Calculating Empires” by Kate Crawford and Vladan Joler and attended Hannah Hurtzig’s participatory performance Market for Useful Knowledge and Non-Knowledge – two projects that investigate and intertwine theory and practice in very different ways as they both tackle the topics of data and knowledge production.

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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.

To the table of contents

5. April 2024

IN DER GEISTERBAHN Stefanie Diekmann über „Poetics Of Encryption“ im KW Institute For Contemporary Art, Berlin

Das Unheimliche des Digitalen und Technologischen hat sich als beliebtes Thema in unterschiedlichsten künstlerischen Disziplinen lange bewährt, in jüngster Zeit ist es besonders die rasante Entwicklung künstlicher Intelligenz, die dystopischen Szenarien Vorschub leistet. Während das Unbehagen im zunehmend durchtechnologisierten Alltag meist unterschwellig bleibt, kultivieren Künstler*innen die Lust am Schaudern vor der digitalen Technologie und Vernetzung weiterhin gern; für die Gruppenausstellung „Poetics Of Encryption“ wurde sie zudem zum kuratorischen Konzept erhoben. Das Ergebnis setzt auf effektvolle Inszenierung und spiegelt damit eher einen gängigen Gemütszustand wider, als dass es Reflexionsebenen eröffnet, wie Stefanie Diekmann darlegt.

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29. March 2024

Seen & Read

MARIE DARRIEUSSECQ, AMELIE VON WULFFEN, ISABELLE LAFON Seen & Read – by Isabelle Graw

If one was to find a through line connecting the three cultural objects and productions that our publisher Isabelle Graw highlights in this week’s “Seen & Read” section, it could be their explorations of life through a female lens: Marie Darrieussecq’s new novel juxtaposes the autobiographical retrospectives of her two protagonists, while Amelie von Wulffen’s current Berlin exhibition takes her own perspective on her immediate surroundings and renders it in paint. Isabelle Lafon, for her part, brings to the stage a discursive chamber play that subtly illuminates a group of women’s modes of communication in their fictional shared apartment.

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Artists' Editions

Jutta Koether, "Analogue Drive", 2024

29. March 2024

“ORIGIN IS THE GOAL” Fernanda Pitta on “Ensaios para o Museu das Origens” at Instituto Tomie Ohtake and Itaú Cultural, São Paulo

In 1978, the politician and art critic Mário Pedrosa imagined the reconstruction of the partly burnt down Museu de Arte Moderna do Rio de Janeiro as the creation of a “Museum of Origins” that, besides presenting conventional modern and contemporary art, also gives representation to works by Indigenous and Afro-diasporic people as well as by self-taught artists and psychiatric clients. Under the title “Ensaios para o Museu das Origens” (Towards the Museum of Origins), the Instituto Itaú Cultural and Instituto Tomie Ohtake in São Paulo recently made an effort to actualize Pedrosa’s vision. However, while the tone of Pedrosa’s discourse was about acknowledging the influence of “peripheric” creativities on contemporary art, thus relying on a teleological trajectory of development, the recent exhibitions receive Fernanda Pitta’s praise for evoking what Françoise Vergès has called the “post-museum” by embracing a multiplicity of memories and cultural narratives, and for resisting the (eurocentric) tendency of propagating foundational myths or universal syntheses.

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25. March 2024

RENÉ POLLESCH (1962–2024) Von Alexander Karschnia

Schon fast ein Monat ohne René Pollesch. Noch laufen seine Stücke. Aber wie Alexander Karschnia im Nachruf für seinen Freund und Kollegen richtig feststellt, werden wir auf seine Sprache verzichten lernen müssen, wenn sie nun allmählich abgesetzt werden, und sich – sicher zurecht – zunächst niemand an ihre Reinszenierung herantrauen wird. Karschnias ist der erste in einer kleinen Reihe von Texten, die wir in Andenken an Pollesch publizieren, weitere folgen in den kommenden Wochen. Wir werden Pollesch und sein Werk, das uns beständig so wichtige ästhetische und theoretische Bezugspunkte lieferte, noch lange sehr schmerzlich vermissen.

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22. March 2024

VOM FREISCHWIMMEN DER FORM Stephan Geene über Marie Angeletti in der Galerie Lars Friedrich, Berlin

Seit Francis M. Naumann vor einem Vierteljahrhundert in einer Publikation zu Marcel Duchamp sechs Arten des Readymades unterschied, wurden unzählige Gegenstände gefunden und Methoden erprobt, diese zum Kunstwerk zu machen. Mit den Möglichkeiten der Manipulation und Reproduktion erweitert sich das Verständnis dessen, was ein Found Object ist oder sein kann kontinuierlich, sodass Kategorisierungen kaum sinnvoll erscheinen. Die Arbeiten der Französin Marie Angeletti, die kürzlich in Berlin zu sehen waren, muten zunächst wie vergleichsweise klassische Beispiele an. Stephan Geene beleuchtet hier die besonderen Features, aufgrund derer sich die mal perfekt reproduzierten, mal radikal zerschnittenen Gegenstände der jungen Künstlerin dann doch kaum festlegen lassen.

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20. March 2024

THE BEST PROPHET IS THE ASSASSIN Stephanie LaCava on Hit Men, Puppeteers, and Holy Forms of Parallel Play

“With the decline of religion and most other forms of creative symbolic activity, a rather heavy mantle of cultural authority has descended on the frail but willing shoulders of our critics,” wrote a reviewer of Eugene Goodheart’s The Failure of Criticism (1978) almost half a century ago. That the “triumph of modernism” was not the “defeat of criticism” Goodheart had assumed has since been amply demonstrated; even the reviewer cited above admitted that the absence of major geniuses rather allowed postmodern critics “to play all sorts of high-priestly roles.” In the critical discourses of the recent past, religiously connoted attributions have fallen further into disrepute, and rightly so. But perhaps, a certain residual sanctity of the critic’s work has remained. In her current contribution to “Texte zur City,” our New York columnist Stephanie LaCava resurrects an old image for our present day.

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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.