Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)
Texts by Ina Blom, Oliver Brokel, Caroline Busta, Stefan Deines, Hal Foster, Stefanie Heraeus, Jutta Koether, Magdalena Nieslony, Michael Sanchez
Many contemporary artworks evoke the human figure: consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig, or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This book brings together contributions from the eponymous conference, all of which seek to speculate on the reasons as to why, since the turn of the millennium, we have encountered so many artworks that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi’s theory of semiocapitalism—a power technology that aims squarely at our human resources. The participants of this conference were asked to offer possible explanations for this wide acceptance of anthropomorphism—could it be that this is a manifestation of the increasingly desperate desire for art to have agency?
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- Art and Subjecthood
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Flaca / Tom Humphreys
Edited by Nikolaus Hirsch, Sophie von Olfers
Contributions by Thomas Bayrle, Christian Egger, Nikolaus Hirsch, Sophie von Olfers
Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins, Alexander Wolff, Sergej Jensen…
Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007. Humphreys developed an exhibition that made no pretense to offer an illustrative or historically accurate representation of his activities at the time, instead turning the space into a distorted double set in the present. Humphreys is interested in questioning the activities of that time; some of the artists he invited for this exhibition, for instance, never showed at Flaca. As Christian Egger writes in the catalogue: “Exhibiting there often meant that you could look with a fresh eye at the first solo shows in London of artists you’d only just seen at Flaca, and that was all really quite exciting, as though you were experiencing a little bit of what the mobile phone you’d brought along had gone through when you first scared it by charging it with island juice, there was somehow a different energy—a flirtation with malfunction.” The catalogue compliments the energetic, engaged style embodied by both Flaca and the reflective exhibition.
Co-published with Portikus
Design by Manuel Raeder
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- Flaca / Tom Humphreys
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Tauba Auerbach
Folds
Texts by Emmanuelle Dauplay, Edwin Abbott Abbott, and Italo Calvino
In connection with Tauba Auerbach’s exhibition “Tetrachromat” at Bergen Kunsthall, Folds presents Auerbach’s eponymous painting series for the first time in book form. In these paintings Auerbach twists and folds the canvas before applying the paint. In its stretched form the flat canvas conjures a trompe l’oeil rendering of its previous three-dimensional state. Transferred to the medium of the book, the paintings are presented here in a new and unexpected way alongside mathematical diagrams and three texts.
Auerbach works with a number of printed media, and the book enjoys a quite central position in her oeuvre: from highly sophisticated book sculptures that are somewhere between physical objects and non-narrative books, to a series of individually made artist books—most recently [2,3] (2011), a pop-up book where six detailed paper sculptures emerge from the book’s pages.
Co-published with Bergen Kunsthall
Design by Joe Gilmore, Qubik, with Tauba Auerbach.
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- Tauba Auerbach - Folds
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John Kelsey
Rich Texts: Selected Writing for Art
Edited by Daniel Birnbaum, Isabelle Graw, Institut für Kunstkritik, Frankfurt am Main Compiled for the first time here, the critic, artist, gallerist, dealer, translator John Kelsey’s selected essays gamesomely convey some of the most poignant challenges in the art world and in the many social roles it creates. “When the critic chooses to become a smuggler, a hack, a cook, or an artist,” Kelsey said at a 2007 conference at the Städelschule in Frankfurt am Main, “it’s maybe because criticism as such remains tied to an outmoded social relation.” It is precisely this relation that Kelsey intends to not only critique but also to surpass. In this way, Kelsey’s “Rich Texts” play the double role of explaining the art world and actively participating in it; they close the distance between the work of art and how we talk about it. “With a keen sense of the way objects and subjects appear in the spaces we share, and how we inhabit our bodies, John Kelsey writes texts at once playful and true to the situations under observation. He does not write from an imaginary critical distance, but as someone fully aware of being immersed in the commercial world, commodified and for hire—i.e., as a ‘hack’—yet constantly searching for new forms of experimentation.” —Daniel Birnbaum and Isabelle Graw Originally published in Artforum—where Kelsey is a contributing editor—Texte zur Kunst, Parkett, and various artists’ catalogues, the essays compiled in Rich Texts have all been written over the last decade, and therefore embody a timeliness that strikes at the core of the contemporary art world and the crises that have come to define it. Design by Surface, Frankfurt am Main/Berlin
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- John Kelsey - Rich Texts: Selected Writing for Art
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