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Staedelschule Lectures CFA Berlin Staedelschule Lectures CFA Berlin
30. November 2022

Current Attractions

JÜRGEN Heiner Franzen über leere Gebäudegänge, einen Berliner Hausmeister und gemeinsame Beobachtungen zum Lauf der Dinge

Der Kampf um die Uferhallen in Berlin-Wedding steht exemplarisch für eine neoliberale Stadtentwicklungspolitik, die lange bestehende künstlerische Arbeitsräume in Kapital umwandeln möchte. Vor Kurzem versammelte die Gruppenausstellung „On Equal Terms“ Positionen von Künstler*innen, deren Ateliers durch die geplante Nachverdichtung des Geländes bedroht sind. Gezeigt wurde auch Heiner Franzens Videoinstallation The Caretaker, die sich in Form eines filmisch-poetischen Porträts auf die Spuren eines Mannes begibt, der als Hausmeister zahlreicher umkämpfter Berliner Gebäude eine besondere Perspektive auf den strukturellen Wandel der Stadt hat. Für die letzte „Current Attractions“-Kolumne, die unter dem Thema „Resortization“ steht, hat Franzen ein kurzes, unpubliziertes Fragment seines fortlaufenden Projekts beigesteuert.

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28. November 2022

Documenta Debrief

FALSCHE FÄHRTEN Carsten Probst über die „documenta fifteen“ und ihre Rezeption in den Medien

Das Kurator*innenkollektiv ruangrupa kam mit dem Anspruch nach Kassel, die internationale Großveranstaltung in einem offenen Gemeinschaftsprozess zu gestalten. Sowohl diese Zielsetzung als auch viele der gezeigten künstlerischen Arbeiten verstanden sich als Beitrag zu politischen Diskursen. Doch die seit Jahresbeginn brodelnde und in den Eröffnungstagen schließlich entfesselten Diskussionen um Antisemitismus, Postkolonialismus und Kunstfreiheit auf der „documenta fifteen“ hielt die Institution auf Distanz, so Carsten Probst. In seiner Analyse der medialen Rezeption vollzieht der Journalist nach, welche Folgen die sowohl durch die Medienöffentlichkeit als auch durch die Ausstellungsmacher*innen aufrechterhaltene Trennung von der seit 2019 geführten deutschen Debatte und der tatsächlichen Schau mit ihren kuratorischen und künstlerischen Positionen hatte.

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September 2022

Current Issue

Issue No. 127
September 2022
„Resortization“

With the help of the neologism “resortization,” this September issue of Texte zur Kunst discusses the structural transformation currently underway in the domain of art, which compels it to resemble a resort-like environment. In particular, this term encapsulates the tendency of various Blue-Chip Galleries to follow their well-to-do clientele into the reclusion of exclusive luxury enclaves such as Aspen, Saint-Tropez or Monte-Carlo. The issue also engages with the increasing relevance of digital media, which not only plays a growing part in informing processes of recognition but fundamentally influences the conditions under which artistic work is made and experienced.

To the table of contents

25. November 2022

3 BECOME 1 Tom McDonough on General Idea at the National Gallery of Canada, Ottawa

The Canadian collective General Idea was known for their exploration of mass culture and the art market, as well as their trio form that, at least throughout their existence, was never tied to a singular authorial identity. They often employed magazines, exhibition stands, paintings, postcards, posters, or wallpaper to address consumer culture and a society transfixed by media spectacle. By embracing the group’s historical contingency, a recent exhibition at the National Gallery of Canada carefully maps the shifting strategies, concerns, and artistic media entailed in a communal artistic practice that spanned 25 years. Being the most comprehensive retrospective to date, the show displays General Idea’s negotiation of collectivity as well as collaboration and thus emphasizes, as the art historian Tom McDonough demonstrates, their deployment of collective intelligence or, so to say, a general intellect.

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23. November 2022

TRANCE, TRAUMA, DRIVE Beate Söntgen on Emmelyn Butterfield-Rosen’s study on the modernist visualization of the human disposition

Around 1900, the human figure was transformed in European art: bodies increasingly assumed expressionless, frontal postures. The art historian Emmelyn Butterfield-Rosen explores this development in her book Modern Art and the Remaking of Human Disposition and attributes the new poses to a fundamentally changed conception of the human. She develops her theses on this historical transformation with reference to three works created around the turn of the century. As art historian Beate Söntgen argues in her review, it is the comprehensive theoretical framework of Butterfield-Rosen’s study in particular that renders it relevant to the contemporary field of art history and beyond.

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Artists' Editions

Glenn Ligon, "Untitled (America/Me)", 2022

18. November 2022

TEMPORAL POSITIONING Camila McHugh on Nora Schultz and Mirjam Thomann at Klosterruine, Berlin

Intentional positioning as orientation plays an integral role in Nora Schultz’s and Mirjam Thomann’s site-specific art practice. Their joint exhibition “3 Months Later” at Klosterruine Berlin manifested the artists’ sensitivity to the material, architectural, and cultural characteristics of time and space. Through their sculptural installations, Schultz and Thomann responded in a mimetic yet complementary way to the porousness and historicity of the medieval monastery ruins in the center of Berlin and established a relationship with that space by situating their works within its edges and openings. Writer and curator Camila McHugh reviews the exhibition with particular focus on the spatiotemporal experiences that it offered.

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16. November 2022

Current Attractions

RUPTURES, REROUTINGS, CONVERSATIONS, AND CLAY Irmeli Kokko on the Value and Volatility of Artist Residencies

Often located in secluded places far from the hustle and bustle of the digitalized present, a growing number of residency programs promise artists the opportunity to work in special and idyllic conditions. But by no means does everything always go according to plan – and fortunately so, finds Irmeli Kokko. As the residency expert argues, the value of such programs lies not least in their intrinsic incalculability. Based in large part on conversations and experiences with a travel-savvy artist duo, Kokko’s contribution to our column keeps with our current theme of “Resortization” and loosely ties in with the experiences reported by artist Ei Arakawa that appeared in our latest print issue.

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11. November 2022

MIT OFFENEN AUGEN IN DIE SONNE SCHAUEN Ramona Heinlein über Shara Hughes im Kunstmuseum Luzern

An Strahlkraft kaum zu übertreffende Himmelskörper erhellen viele der naturwüchsigen Szenerien von Shara Hughes. So öffnet sich in der Radierung „Night Opening“, die Hughes Anfang 2022 als Edition für „Texte zur Kunst“ geschaffen hat, bei gleißendem Mondschein ein Blütenkelch. Schon seit einigen Jahren hat sich die Künstlerin der Landschaftsmalerei verpflichtet. Die von ihr dargestellte Natur reflektiert jedoch keine lokalisierbaren Topografien, sondern entwachsen ihrem Inneren. Im Atelier tritt die Malerin weißen Leinwänden entgegen und verbildlicht ihre Emotionen. Ihr Spiel mit den Klischees sowohl des klassischen Genres als auch des künstlerischen „Schöpfungsakts“ bleibt dabei immer spannungsvoll, so die Kunsthistorikerin Ramona Heinlein. Hughes’ menschenleere Welten eröffnen Betrachter*innen eine körperliche Erfahrung, in ihrer Schönheit können sie sich lustvoll und doch stets von einer leisen, lauernden Gefahr begleitet hineinfühlen.

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4. November 2022

DIVERGING DREAMSCAPES Paolo Baggi on Peppi Bottrop at Sies + Höke, Düsseldorf

The old assumption that dreams, once expertly decoded, refer to a deeper truth is hardly tenable without taking into account the complex, unstable hermeneutics on which every oneirological derivation is based. The notorious fragility that characterizes all attempts at interpretation is something that the realm of dreams shares with the enigmatic painterly worlds of Peppi Bottrop, which evoke psychosocial topographies and yet resist clear reading. Here, the art historian and curator Paolo Baggi reviews the painter’s most recent solo exhibition in Düsseldorf, reflecting on an experience that, despite all references, clues, and allusions, was characterized above all by a constant, productive uncertainty.

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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.