Douglas Gordon

TEXTE ZUR KUNST #105
MARCH 2017 “THEY ARE US"

 

ISSUE NO. 105 / MARCH 2017 “THEY ARE US / WIR SIND IHR”

With Issue #105, TZK considers the nationalist, conservative, and racist ideologies that have recently become more visible across Europe and the US, giving particular focus to questions of border politics and migration — of humans, of data, of patrimony, of signs. Advised by Helmut Draxler, Isabelle Graw, and Susanne Leeb, this issue was conceived prior to the US presidential election as a cooler reflection on present political debates. And yet having been produced amid the chaos of the Trump administration’s first weeks, it also necessarily stands as a reflection of political-aesthetic thinking during markedly volatile times: Wir sind Ihr? They are us? We are them?

TABLE OF CONTENTS:

FORWARD

PREFACE

ROUNDTABLE
BUT WHO IS “THEY”? / Roundtable discussion with Manuela Bojadžijev, Nikita Dhawan, and Christoph Menke, moderated by Helmut Draxler on Refugee and Migrant Flows as a Challenge for Political Thought

OVERCOMING MUTE RELATIONS, OR, 
THINKING WITH YOUR FEET / Angela Melitopoulos in conversation with Susanne Leeb

Daniel Keller
NEW DEVELOPMENT
HALFTIME VIBES / John Kelsey on Meditations in an Emergency
WEDER WOHNUNG NOCH WÄHRUNG / Diedrich Diederichsen über den Intendantenwechsel an der Berliner Volksbühne
BEGEHREN IN BETON / Benjamin Meyer-Krahmer über die Feuerle -Collection

LIEBE ARBEIT KINO
OF DREAMS, LIES, AND WIRES / Tom McDonough on Adam Curtis’s “HyperNormalisation”
MEDIALER GESTUS / Rainer Bellenbaum über Douglas Gordons Film 
„I Had Nowhere to Go“
EU DESESPERO E ABRAÇO A TUA AUSÊNCIA: 
“AQUARIUS” OR CINEMA AFTER NEO-FASCISM  / Daniel R. Quiles on Kleber Mendonça Filho’s “Aquarius”
FAST UNANGENEHM DEUTLICH / Anke Dyes und Anna Voswinckel über Jill Soloways 
Fernsehserie „I love Dick“

ROTATION
MACH ES NICHT SELBST / Daniel Loick über „Staying with the Trouble. Making Kin in the Chthulucene“ von Donna Haraway
(POST-)EMPIRE STATE OF MIND / Emily Segal on Cat Marnell’s “How to Murder Your Life”
RELEVANTE UPDATES / Christian Egger über Raymond Pettibon im 
Museum der Moderne Salzburg

SHORT WAVES
Micaela Durand on Heji Shin at Real Fine Arts, New York / Arne Schmitt über Candida Höfer im Neuen Berliner Kunstverein / Hans-Jürgen Hafner über Peter Duka bei Zwinger Galerie / Ana Finel Honigman on Dan Attoe at Peres ­Projects, Berlin / Tina Schulz über Willem Oorebeek im Magazin 4 in Bregenz

REVIEWS
ZUCKER UND SHAME / Ulrike Bergermann über „Deutscher Kolonialismus“ 
im Deutschen Historischen Museum, Berlin
MODELS AND AGENCIES / Ben Caton on “The Ulm Model” at Raven Row, London
ART HISTORY, REMASTERED / Abbe Schriber on Kerry James Marshall at the Met Breuer, New York
AESTHETICIZED PLAY / Stefaan Vervoort on Ludger Gerdes at the Museum Haus Lange, 
Krefeld, Germany

NACHRUFE / OBITUARIES
BARBARA WEISS (1960–2016)
by Monika Baer and John Miller
by Andreas Siekmann
JOHN BERGER (1926–2017)
by Tom Holert
by Svetlana Alpers

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The Anti-Museum : An Anthology
Mathieu Copeland, Balthazar Lovay (Eds.)

The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum’s suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this anthology is devoted to the anti-museum, through anti-art, the anti-artist, anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. This notion – unpatented but regularly reappropriated – traces the erratic, fractured, and sometimes paradoxical counter-history of the contestation of artistic institutions. From the first anti-exhibition to the first catalog retracing the history of “Closed Exhibitions,” from Dada to Noise music, from “Everything is Art” to NO!art, the Japanese avant-gardes to Lettrist cinema, and not forgetting such major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale, and Lydia Lunch, The Anti-Museum sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.

Edited by Mathieu Copeland and Balthazar Lovay.
Introduction by: Mathieu Copeland.
Texts by: Zach Blas, Johannes Cladders, Beatriz Colomina, Henry Flynt, Kenneth Goldsmith, Krist Gruijthuijsen, Robert Morris, Bob Nickas, Sören Schmeling, Reiko Tomii, Jon Hendricks, Jean Toche, Andrea Branzi, Ettore Sottsass, Allan Wallach, Guerilla Art Action Group, Robert Morris, Gareth James and many more
Features interviews/conversations with John Armleder, Robert Barry, Ben, Genesis P-Orridge, Andrea Branzi, Piero Gilardi, Mierle Laderman Ukeles and many more

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Hotel Carlton Palace, Chamber 763
An Exhibition by Hans Ulrich Obrist

In 1993 Hans Ulrich Obrist organised an unannounced exhibition with works by 70 artists in the 12 square metres of a hotel room in Paris. He also lived in the room for the duration of the exhibition.

Artists in the original exhibition included Ed Ruscha, Franz West, Maurizio Cattelan, Hans-Peter Feldmann, Gilbert & George, Isa Genzken, Douglas Gordon, Sarah Lucas, Gerhard Richter and many others.

With this publication Hans Ulrich Obrist takes the reader on an imaginary tour through his legendary exhibition, illustrated with numerous photographs by Pierre Leguillon and others. Original written communications between Obrist and the artists as well as a site plan indicating where the works were installed, enhance the documentation.

Published on the occasion of the exhibition Room Service: On the Hotel in the Arts and Artists in the Hotel at Staatliche Kunsthalle Baden-Baden, 22 March – 22 June 2014.

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The Contemporary, the Common: Art in a Globalizing World
by Chantal Pontbriand

The essays in this collection were written in the first decade of the new millennium by the critic, editor, and curator Chantal Pontbriand. Pontbriand examines themes of being-in-common in today’s world and their relation to the development of art practices. As these practices are implemented, other ways of seeing, understanding, and making appear. Contemporaneity functions as a flow, a space-time being that cannot be fixated. The body is in the forefront—a thermometer of the world lived in and with, marked by dynamics of change and sharing.

The work of Claire Fontaine, Douglas Gordon and Philippe Parreno, Ion Grigorescu, Carsten Höller, Mike Kelley, Sigalit Landau, Rabih Mroué, Yvonne Rainer, Rirkrit Tiravanija, and Jeff Wall, among other artists, is examined in this book, together with Pontbriand’s insights into the seminal issues stirring the field of contemporary art.

Design by Agnès Dahan

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