Artist Jutta Koether based in Berlin, Hamburg, and New York accompanied “Texte zur Kunst” as writer and discussion partner from start. At the symposium documented in this issue she confronted the audience in a performance with an “aesthetic experience”. By quoting diverse sources ranging from Eisenstein and Georges Bataille to Georges Didi-Huberman and Juliane Rebentisch as well as Kylie Minogue, Lux Interior and Iggy Pop she literally let a painting speak. Koether works in the fields of painting, music projects for which she collaborated with several partners like Kim Gordan among others, performances and writing. Her artistic practice aims to permeate these different forms and media. In her last show at Berlin based gallery Daniel Buchholz she set her paintings in relation to the exhibition space, living rooms typical for historical Berlin which she intersected by erecting a screen. Like the so called Berlin keys with their characteristic two key tips for opening and closing to which the title of Koether’s show referred the set up also resembled a paradox situation. The extreme colourful paintings insisted on their autonomous status as abstract objects while at the same time offered hints of legibility to the beholder. Next to acrylic pictures with references to a portrait by Poussin form the collection of local Gemäldegalerie Koether also showed assemblages made of liquid glass, acrylic paint and several other materials that were directly poured onto the windows of the gallery. Through this intervention the image was literally exposed into the space between intention and reception. For “Texte zur Kunst” Jutta Koether chose two radical colourful and expressive drawings from her sketch book. The pictures will be reproduced using a high-quality scaning and printing process. The artists’ edition “Berliner Schlüssel #17” unites on one sheet two different motifs which are characteristic for Koether’s work. The first drawing refers to Marcel Broodthaers “The Triumph of Mussels (Triomphe de Moules I (Moules Casserole))” (1965) and shows a pot filled with mussels. Here, live and art come together in both literal and humorous way just like Koether’s different modes of artistic expression which can best be compared to reading “The Thirst for Annihilation, Georges Bataille and Virulent Nihilism” and listening to Jazz Rock opus “Bitches Brew” by Miles Davis at the same time spark a flash, the second typical sign in her work to be found on the other print.