Das Institut

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TEXTE ZUR KUNST #102
JUNE 2016 “FASHION”


Art and fashion have always been interrelated. And it’s due to fashion’s ability to quickly capture social shifts that the art world has repeatedly turned to it. But as Texte zur Kunst No. 102 proposes, it is fashion’s protagonists, recently, that have been markedly drawing on art conceptual practices (e.g., parasitism, collective authorship, détournement, and forms of institutional critique) as they push back against the pressures of a hyper-accelerated fashion market. In this issue, TzK examines, also, how the industry’s current volume is a product of its late-’00s promise of online democratization; the changing function of such long-held value designations as “luxury,” “discount,” and “underground,” and the role of “real”-er bodies in a climate wherein models are preferably “nodels” or “othered” bodies, hyper-individualised to stand out in the stream.

TABLE OF CONTENTS

PREFACE

ROBERT KULISEK & DAVID LIESKE
FASHION PROFILES OF:
69 WORLDWIDE / NASIR MAZHAR / KYLE LUU / ­BERNADETTE VAN-HUY / LIAM HODGES / TELFAR / NIK KOSMAS & JEANNE-SALOMÉ ROCHAT / MARTINE ROSE / JULIANA HUXTABLE / ECKHAUS LATTA / DIS / NHU DUONG /
with texts by Harry Burke, Tess Edmonson, Jack Gross, and Bianca Heuser

INGEBORG HARMS
 “CRYSTAL MESH / Existential imagery in current fashion”

COLLECTIVE SOUL / Jessica Gysel in conversation with Lotta Volkova Adam and Atelier E.B. (Beca Lipscombe & Lucy McKenzie)

CAROLINE BUSTA
 “NEO-BODIES”

NATASHA STAGG
 “ACCESS CODING”

PHILIPP EKARDT
 “DRESSING AFTER THE GREAT DIVIDE / The emancipation of Jonathan Anderson”

CALLA HENKEL & MAX PITEGOFF
 “LAST NIGHT”

ROTATION

IN DER FRÜHE / Peter Geimer über Friedrich Kittlers „Baggersee“

RETURNS OF THE STONE AGE / Sven Lütticken on the exhibition publications for “Kunst der Vorzeit” and “Allegory of the Cave Painting”

ZUR KULTURPOLITISCHEN BEKÄMPFUNG DER MODERNEN KUNST / Otto Karl Werckmeister über die neue Ausgabe von Hitlers „Mein Kampf“

LIEBE ARBEIT KINO

DURATIONAL FASHION / Sara Marcus on K8 Hardy’s “Outfitumentary”

KLANG KÖRPER

HAVE YOU EVER BEEN TO ELECTRIC LADYLAND / Barbara Vinken über Michaela Melián im Lenbachhaus, München

EINE KULTURGESCHICHTE DER ENTGRENZUNGEN / Daniel Martin Feige über „I Got Rhythm. Kunst und Jazz seit 1920“ im Kunstmuseum Stuttgart

SHORT WAVES
Jens Hoffmann on “Unfinished: Thoughts Left Visible” at the Met Breuer, New York  /  Magdalena Nieslony über Agnes Martin im K20, Düsseldorf  /  Dena Yago on Ei Arakawa, Gela Patashuri, and Sergei Tcherepnin at Midway Contemporary, ­Minneapolis  /  Eva Wilson on Das Institut at the Serpentine Sackler Gallery, London /  Julia Moritz on Tobias Madison at Kestnergesellschaft, Hannover

REVIEWS

MARIUS UND DIE INFORMATION / Hans-Christian Dany über „Nervöse Systeme. Quantifiziertes Leben und die soziale Frage“ im Haus der Kulturen der Welt, Berlin

DIE KUNST VERACHTEN, DEN REST DER WELT ANKLAGEN /Susanne von Falkenhausen über Boris Lurie im Jüdischen Museum Berlin

DEUTSCHES VITRINENGLAS / Steffen Zillig über Dierk Schmidt bei KOW, Berlin

NOTHING BUT KINDNESS / Verena Dengler über Lili Reynaud-Dewar in der Galerie Emanuel Layr, Wien

EARLY SYSTEMS ESTHETICS / Craig Buckley on Les Levine at Buell Hall, GSAPP, Columbia University, New York

WHAT A BODY CAN’T DO / Sophie Goltz über Regina José Galindo im Frankfurter Kunstverein und Maria José Arjona in der Kunsthalle Osnabrück

NACHRUFE / OBITUARIES

PIERRE BOULEZ (1925–2016)
 by Björn Gottstein
ZAHA HADID (1950–2016) 
by Than Hussein Clark

EDITION
JOHN MILLER
TORBJØRN RØDLAND

 

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Kerstin Brätsch, Adele Röder, DAS INSTITUT
Triennial Report 2011–2009

“Das Institut” presents a lavishly illustrated review of the productions, exhibitions, and collaborations in which it has been involved over the past three years in the style of a business report. “Das Institut” was founded in New York in 2007 by Kerstin Brätsch (*1979) and Adele Röder (*1980) as a notional free space in which they both gave themselves the opportunity of working independently from the concept of their own oeuvres, for their promotion and reproduction.

Taking an ironic approach to themselves, and using great verbal wit, they have tackled the strategies of (self-)marketing head on. The fast-tempo artistic ping-pong game between the two agency proprietors Brätsch and Röder can be followed in detail in this artist’s book. Each smuggles her works into the agency as models for further processing by the other. Sources of inspiration, costs, sales revenue, and exhibition techniques are frankly disclosed. What at first looks like a strong overstatement that treads on a fine line between art, knitwear, role play, and marketing is at the same time a trenchant observation of the art scene, and a plea for artistic experiment and the potential of painting.

“Das Institut” participated in the group show “Non-solo show, Non-group show” at Kunsthalle Zürich (2009) and recently in the 54th Venice Biennial (2011). The book is published on the occasion of its solo exhibitions at the Parc Saint Léger, Pougues-les-Eaux (2010); the Kölnischer Kunstverein (Spring 2011); and the Kunsthalle Zürich (Autumn 2011).

The publication is part of the series of artists’ projects edited by Christoph Keller.

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