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TEXTE ZUR KUNST #100
December 2015 "The Canon"


ISSUE NO. 100
DECEMBER 2015
„THE CANON“

“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”

– Texte Zur Kunst

ISSUE NO. 100 / DECEMBER 2015 “THE CANON”

TABLE OF CONTENTS

PREFACE

TOM HOLERT
IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED

DIEDRICH DIEDERICHSEN
MIKE KELLEY

SABETH BUCHMANN
MEDIAL (SELF-)MOVEMENT

ISABELLE GRAW
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig

JULIANE REBENTISCH
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon

GERTRUD KOCH
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?

KERSTIN STAKEMEIER
MORE MANNERISM / Ruth May and Jan Molzberger

GUNTER RESKI
EMBEDDED NUDES / Arno Rink

ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005

BEATE SÖNTGEN
ROSEMARIE TROCKEL

NICK MAUSS
IAN WHITE

TESS EDMONSON
DIS

HANNA MAGAUER
POST-INTERNET: THE NEW ORDER

JOSEPHINE PRYDE
THE INDIVIDUAL

CAROLINE BUSTA
BAD CANON

SIMON DENNY
DISRUPT

KEN OKIISHI
CITIZENSHIP

VALENTINA LIERNUR
SELF-REFLECTIVE SUBJECTS

JUTTA KOETHER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!

ALICE CREISCHER AND ANDREAS SIEKMANN
TUCUMÁN ARDE

PAMELA M. LEE
GROUP MATERIAL

FELIX VOGEL
MARTIN BECK

SVEN BECKSTETTE
STURTEVANT

CLAIRE FONTAINE
TOWARD A CANONIC FREEDOM

SVEN LÜTTICKEN
FALLING APART, TOGETHER

ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon

BRIGITTE WEINGART
GREAT & SMALL

HELMUT DRAXLER
CANON OF EXISTENCE, ETHICS OF THE BREAK

ROTATION

ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”

REVIEWS

VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie

AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York

ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien

ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City

WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art

IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München

HERE’S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York

WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco

OBITUARIES

PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015)
by Tim Griffin

EDITION

JOHN BALDESSARI
NHU DUONG
PETER FISCHLI/DAVID WEISS
WADE GUYTON
RACHEL HARRISON
SARAH MORRIS
ALBERT OEHLEN
RICHARD PHILLIPS
SETH PRICE
GERHARD RICHTER
ROSEMARIE TROCKEL

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EXHIBITION
Lucy Steeds (Ed.) - Documents of Contemporary Art Series

This anthology provides a multivocal critique of the exhibition of contemporary art, bringing together the writings of artists, curators, and theorists. Collectively these diverse perspectives are united by the notion that although the focus for modernist discussion was individual works of art, it is the exhibition that is the prime cultural carrier of contemporaneity. The texts encompass exhibition design and form; exhibitions that are object-based, live, or discursive; projects that no longer rely on a physical space to be visited in person; artists’ responses to being curated and their reflections on the potential of acting curatorially. Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition.

Artists surveyed include:
Rasheed Araeen, Art & Language, AA Bronson, Daniel Buren, Graciela Carnevale, Andrea Fraser, Piero Gilardi, Group Material, Richard Hamilton, Huang Rui, Laboratoire Agit-Art, Louise Lawler, Glenn Ligon, Konrad Lueg, Matsuzawa Yutaka, Palle Nielsen, OHO (Marko Pogagnik), Hélio Oiticica, Philippe Parreno, Victor Pasmore, Raqs Media Collective, Gerhard Richter, Ruangrupa, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Katsuhiro Yamaguchi

Writers include:
Judith Barry, Martin Beck, Charles Esche, Patricia Falguières, Elena Filipovic, Patrick Flores, Liam Gillick, Thelma Golden, Hou Hanru, Geeta Kapur, Pablo Lafuente, Lisette Lagnado, Lucy R. Lippard, Miguel A. López, Stuart Morgan, Chika Okeke-Agulu, Yvonne Rainer, Moira Roth, Seth Siegelaub, Wan-kyung Sung, El Hadji Sy, David Teh, Margarita Tupitsyn, Marion von Osten, Anton Vidokle, Peter Wollen

About the Editor:
Lucy Steeds is Pathway Leader in Exhibition Studies at Central Saint Martins, University of the Arts, London.

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This Will Have Been
Art, Love, and Politics in the 1980s

Helen Molesworth; With essays by Johanna Burton, William Horrigan, Elisabeth Lebovici, Kobena Mercer, Sarah Schulman, and Frazer Ward.

Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art historically aware. Published in association with the Museum of Contemporary Art, Chicago, this fascinating book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an increasingly commodified world. The major developments of the decade—the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of color, and the ascension of new media—are illuminated in works by Sophie Calle, Nan Goldin, Jeff Koons, Lorna Simpson, Leigh Bowery, Jimmy De Sana, Carroll Dunham, Jimmy Durham, Alex Garry, Robert Gober, Nan Goldin, Mike Kelley, Paul McCarthy, Annette Messager, Cady Noland, Albert Oehlen, Richard Prince, Cindy Sherman, Julian Schnabel, Rosemarie Trockel, Jeff Wall, Charlie Ahearn, Gretchen Bender, Black Audio Film Collective, Jennifer Bolande, Gregg Bordowitz, Eugenio Dittborn, Gran Fury, Group Material, Guerrilla Girls, Hans Haacke, David Hammons, Jenny Holzer, Alfredo Jaar, Barbara Kruger, Louise Lawler, Donald Moffett, Lorraine O’Grady, Paper Tiger Television, Adrian Piper, Lari Pittman, Tim Rollins and K.O.S., Christy Rupp, Doris Salcedo, Juan Sánchez, Tseng Kwong Chi and Keith Haring, Carrie Mae Weems, Christopher Williams, Krzystof Wodiczko, Judith Barry, Ashley Bickerton, Deborah Bright, Marlene Dumas, Felix Gonzales-Torres, Peter Hujar, G. B. Jones, Isaac Julian, Rotimi Fani Kayode, Mary Kelly, Silvia Kolbowski, Louise Lawler, Sherrie Levine, Jack Leirner, Robert Mapplethorpe, Richard Prince, Marlon Riggs, David Robbins, Laurie Simmons, Haim Steinbach, David Wojnarowicz, Dotty Attie, Robert Colescott, General Idea, Robert Gober, Jack Goldstein, Pater Halley, Mary Heilmann, Candy Jernigan, Mike Kelley, Martin Kippenberger, Louise Lawler, Sherrie Levine, Christian Marclay, Allan McCollum, Peter Nagy, Raymond Pettibon, Stephen Prina, Martin Puryear, Gerhard Richter, David Salle, Doug + Mike Starn, Tony Tasset, James Welling, and Christopher Wool, among others. Essays by leading scholars provide unique perspectives on the decade’s competing factions and seemingly contradictory elements, from counterculture to the mainstream, radicalism to democracy and historical awareness, conservatism to feminist politics.

Complete with critical texts on each work, This Will Have Been brings into focus the full impact of the art, artists, and political and cultural ruptures of this paradigm-shifting decade. More than 200 full-color reproductions of works in a range of media, including drawing, painting, photography, and sculpture, illustrate this ambitious guide to a period of artistic transformation.

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This Will Have Been: Art, Love, and Politics in the 1980s
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REAL LIFE Magazine: Selected Writings and Projects 1979-1994

REAL LIFE Magazine: Selected Writings and Projects 1979-1994 highlights a selection of writings and artists’ projects from REAL LIFE magazine, which was originally edited by artist, writer, and curator, Thomas Lawson and writer, Susan Morgan. Published in twenty-three issues from 1979-1994 as an intermittent black and white magazine, REAL LIFE featured artists and art historians writing on art, media and popular culture interspersed with pictorial contributions. The development of the magazine through its 15 year history, traces the influences, development and transitions of artists through the 80s.

The anthology features writings by and about Dara Birnbaum, Eric Bogosian, Rhys Chatham, Mark Dion, Jack Goldstein, Felix Gonzalez-Torres, Kim Gordon, Dan Graham, Thomas Lawson, Louise Lawler, Sherrie Levine, Allan McCollum, John Miller, Dave Muller, Matt Mullican, Adrian Piper, Richard Prince, David Robbins, Ed Ruscha, Cindy Sherman, Laurie Simmons, Michael Smith, John Stezaker, Bernard Tschumi, Jeff Wall, Lawrence Weiner, and James Welling among others.

Table of Contents:
Thomas Lawson and Susan Morgan: Various Histories of REAL LIFE Magazine
Matthew Higgs: REAL LIFE

Susan Morgan: an interview with Robert Moskowitz, 1979
Valentin Tatransky: Collage And The Problem Of Representation: Sherrie Levine’s new work, 1979
Grahame Shane: Crime as Function, 1979
Susan Morgan: an interview with Steve Gianakos, 1979
Barbara Kruger: Game Show, 1979
James Welling: Untitled, 1979
Thomas Lawson: Every Picture Tells A Story Don’t It? 1979
Thomas Lawson: Fashion Moda, 1980
Richard Prince: Primary Transfers, 1980
Dan Graham: The Destroyed Room of Jeff Wall, 1980
Kim Gordon: Trash Drugs And Male Bonding, 1980
Thomas Lawson: Going Places, 1980
Susan Morgan: Michael Hurson, 1980
Barbara Kruger: Devils With Red Dresses On, 1980
Thomas Lawson: Long Distance Information, 1980
Joseph Bishop: Desperate Character, 1980
Richard Prince: Menthol Pictures, 1980
Laurie Simmons: Sam and Dottie Dance, 1980
Jim Bradley: Radical Genitalia, 1980
Allan McCollum: Matt Mullican’s World, 1980
Michael Smith: Mike In… What Should I Do About The Car? 1980
Sherrie Levine: Two Photographs After Walker Evans, 1980
Kim Gordon: Honeymoon Habit, 1980
Post-Modernism: a symposium, 1981
Dan Graham: BOWWOWWOW (the Age of Piracy), 1981
Howard Singerman: The Artist as Adolescent, 1981
Elsa Bulgari: Your Everyday Critic, 1981
Thomas Lawson: Too Good to be True, 1981
Jenny Bolande: Elk Grazed as if Nothing Had Happened, 1981
David Robbins: Notes toward film, 1981
Eric Bogosian: Fascination, 1981
Fulton Ryder: Pissing on Ice, 1981
Joan Wallace and Geralyn Donohue: Edit deAk, 1982
Rex Reason: Democratism, 1982
The Holy Ghost Writers: Condensation and Dish-Placement, 1982-3
Howard Singerman: Paragraphs toward an essay entitled ‘Restoration Comedies’, 1982-3
John Roberts: Ruins in the Realm of Thought, 1983
Paul McMahon: From The Permanent Collection, 1983
Jo Baer and Bruce Robbins: Beyond the Pale, 1983
Kathi Norklun: Courage, 1983
Tim Rollins: Particles, 1980-1983, 1983-4
Doug Ashford: Kiss of Death, 1983-4
Thomas Lawson: Komar & Melamid, 1983-4
Robin Winters: The Secret Agent: an interview with Jacki Ochs , 1983-4
Robert C. Morgan: a conversation with Lawrence Weiner , 1983-4
Judith Kirshner: A Blinding Light , 1983-4
Rex Reason: Brie Popcorn: an interview with the directors of Nature Morte Gallery, 1983-4
John Miller: Morality and the Poetic, 1984
Susan Morgan: Portraits of the Artists/Composite Drawings, 1984
B.P. Gutfreund: Four Photographs, 1984
Susan Morgan: Each and Every One of You, 1985
Mark Dion: Tales From The Dark Side, 1985
Jeff Wall: Dan Graham’s Kammerspiel Parts I and II, 1985
Jana Sterbak: Premeditated: an interview with Ed Ruscha, 1985
Walter Robinson: The Quest For Failure, 1985-6
Derek Boshier: John Dugger, 1985-6
John A.Walker: Unholy Alliance: Chairman Mao, Andy Warhol, and the Saatchis, 1985-6
Kellie Jones: David Hammons, 1986
John Miller: Swiss Family Robbins, 1986
Adrian Piper: An Open Letter to Donald Kuspit, 1987-8
Susan Morgan: when X does not equal Y , 1987-8
Thomas Lawson: Critical Art Ensemble, 1988-9
Christine N. Lea: Beyond Belief, 1988-9
Felix Gonzalez-Torres: Untitled 1988: Detail of a Sculpture (Endless Copies), 1988-9
Thomas Lawson: No Bull, 1990
Allan McCollum: Photo from TV (with Paintings), 1990
Dara Birnbaum: The Wondering Of Context, 1990
James Welling: Corridors, 1989, 1990
Michael Smith and R. Sikoryak: Mike, 1990
Felix Gonzalez-Torres: Untitled, 1990
Judith Barry: Drive-In or Walk-In Museum, 1990
Group Material: AIDS Timeline, 1990
David Robbins: Three Cancelled TV Families, 1990
Louise Lawler: Untitled 1988, 1990
Susan Morgan: Carlos Gutierrez-Solana, 1994
Josef Strau and Stephan Dillemuth: Friesenwall 120, 1994
David A. Muller: Three Day Weekend, 1994
Spencer Finch: Amnesia And Saying Nothing, 1994

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