Jeff Koons

Camiel van Winkel
During the Exhibition the Gallery Will Be Closed: Contemporary Art and the Paradoxes of Conceptualism

In this compilation of essays Camiel van Winkel uncovers the conceptual roots of contemporary art. He shows that the art of today as a whole is essentially ‘post-conceptual’. The production and reception of art are determined by circumstances and factors that conceptual artists in the years 1965-75 were the first to announce: the cultural dominance of information, the professionalisation of artistic practices, and the applicability of the criteria of ‘good design’.This post-conceptual perspective offers a new and revealing insight into the systematics of contemporary art and artisthood, in particular with regard to the relation between conceptual and visual aspects, the meaning of theoretical discourse, and the role of institutions and mediators.

Camiel van Winkel writes on contemporary art and occasionally curates exhibitions. Based in Amsterdam, he teaches art theory and art philosophy at Sint-Lukas University College of Art and Design in Brussels. He is advisor at the Rijksakademie, Amsterdam. He is the author of Moderne leegte. Over kunst en openbaarheid (1999), The Regime of Visibility (2005) and De mythe van het kunstenaarschap (2007). His latest book, based on his PhD dissertation, is titled During the Exhibition the Gallery Will Be Closed. Contemporary Art and the Paradoxes of Conceptualism (Valiz, 2012).Graphic Design: Sam de Groot

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Sculpture on the Move: 1946-2016
Kunstmuseum Basel


What new paths have sculptors opened up since the end of World War II? Based on late works by Constantin Brancusi and Alberto Giacometti, this comprehensive volume illustrates the exciting and multifaceted developments in this dynamic art form. The long list of the first-class artists presented ranges from Pablo Picasso, Henry Moore, and Jean Tinguely to Franz West, Damien Hirst and Monika Sosnowska. Sculpture on the Move demonstrates how the classic notion of form and sculpture was set in motion, became more abstract, came closer to the ordinary everyday object, dissolved spatial or conceptual boundaries, and even reconstituted itself, returning to figurative traditions. On the basis of selected works from the Kunstmuseum Basel and from international museums and private collections, the book opens up a dense, extremely rich world of contrasts. Featured artists include Absalon, Carl Andre, Jean Arp, Max Bill, Louise Bourgeois, Constantin Brancusi, Alexander Calder, John Chamberlain, Eduardo Chillida, Peter Fischli und David Weiss, Katharina Fritsch, Alberto Giacometti, Robert Gober, Duane Hanson, Eva Hesse, Damien Hirst, Donald Judd, Mike Kelley, Jeff Koons, Mario Merz, Henry Moore, Bruce Nauman, Claes Oldenburg, Gabriel Orozco, Pablo Picasso, Charles Ray, Richard Serra, Monika Sosnowska, David Smith, Jean Tinguely, Oscar Tuazon, Danh Vo and Franz West.

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TEXTE ZUR KUNST #99
September 2015 "Phototgraphy"


Decades following the rise of computer aided design and the aesthetic-theoretical debates that coincided, it might seem late, at this point, to place a spotlight on photography. After all, hardly anyone defends photography’s loyalty to the analog index anymore, or mourns the medium specificities of centuries past. And yet, who can dispute that the photograph has become the primary base for establishing identity now, for cohering a social body; one that, as the substrate across which today’s human subject is drawn, stands as, in a sense,our material support? As the image’s gaze has become omnipresent, it is perhaps prime time to ask how do we now understand photo-media to operate? What information do we expect it to carry? What facts do we trust it to convey?

ISSUE NO. 99 / SEPTEMBER 2015 “PHOTOGRAPHY”

TABLE OF CONTENTS

PREFACE
LOST TRACES OF LIFE / A conversation about indexicality in analog and digital photography between Isabelle Graw and Benjamin Buchloh

LORETTA FAHRENHOLZ
SCANNERS

ROBIN KELSEY
PHOTOGRAPHY, LACAN, AND THE GENIUS OF JEFF KOONS

PETER OSBORNE
THE DISTRIBUTED IMAGE

ANNA GASKELL
LIFE IN THE SYSTEM

TIMUR SI-QIN
TRUE LIES

MICHAEL HAGNER
THE PHOTOBOOK, POST-DIGITAL

CLEMENS JAHN
PHOTOGRAPHY AFTER PHOTOGRAPHY AFTER PHOTOGRAPHY

SETH PRICE
LECTURE ON THE EXTRA PART
BILDSTRECKE

BENJAMIN ASAM KELLOGG
OCULUS DEMOS MAXIMUS
SHORT CUTS

FUTURE NOT PRESENT / Helmut Draxler, Susanne von Falkenhausen, Amy Sillman, and Hong Zeiss on the 56th Venice Biennale
NEW DEVELOPMENT

DREAMING IN TRENDS / Michael Wang on the Louis Vuitton Foundation, Paris
NO EXPO / Amy Lien and Enzo Camacho on the Fondazione Prada, Milan
OPEN SEASON / Nikoloz Japaridze with Natasha Randall on the Garage Museum of Contemporary Art, Moscow
ROTATION

HART SPRECHEN FÜR EINE GEMEINSAME WELT / Christian Kravagna über “Kritik der schwarzen Vernunft” von Achille Mbembe
GARY COOPER’S LIPSTICK / Thomas Beard on Boyd McDonald’s “Cruising the Movies: A Sexual Guide to ‘Oldies’ on TV”
LIEBE ARBEIT KINO

WETRANSFER: MEDIATING THE MEDIATED SELF / Carson Chan on Britta Thie’s “Translantics”
KLANG KÖRPER

WIR SIND GAR NICHT HIER / Joy Kristin Kalu über Richard Maxwells “The Evening”, The Kitchen, New York
SHORT WAVES

Megan Francis Sullivan on Birgit Megerle at Galerie Emanuel Layr, Vienna / Nuit Banai on Josef Strau at Secession, Vienna / Nina Franz über Calla Henkel & Max Pitegoff in der Galerie Isabella Bortolozzi, Berlin
REVIEWS

BLAUE FLECKEN / Alexander García Düttmann über De La Fuente Oscar De Franco im Helmhaus, Zürich
HEARTS OF CONTROL / Dan Mitchell on Gili Tal at Temnikova & Kasela, Tallinn
JEDERMANNS AUTOBIOGRAFIE / Kerstin Stakemeier über Mark Leckey im Haus der Kunst, München
MIT INDIEGOGO NACH PIONEERTOWN / Michael Kral über Pierre Bismuth in der Galerie Jan Mot, Brüssel
ALTE GEISTER / Philip Ursprung über Albert Oehlen in der Kunsthalle Zürich
OBITUARY

LAWRENCE WEINER
DOROTHEE FISCHER (1937-2015)

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A FATAL ATTRACTION: ART AND THE MEDIA


“To consume in America is not to buy; it is to dream. Advertising is the suggestion that the dream of entering the third person singular might possibly be fulfilled.”

-Don DeLillo

These are the artists who put the load-bearing post in postmodern, making the visual politics of media, marketplace and patriarchy the crucial issues for the 1980s: Sarah Charlesworth, Eric Bogosian, Nancy Dwyer, Jeff Koons, Barbara Kruger, Robert Longo, Richard Prince, David Salle, Cindy Sherman. A Fatal Attraction brought these and other artists who share these concerns together at a seminal point in this movement. This exhibition catalogue is a valuable reference for scholarship of this period of contemporary art, not to mention a cultural relic from an important moment in recent art history. Tom Lawson’s essay links the artists within a set of shared concerns-deconstruction of institutionalized pleasure, demystification of representation-that follow from the discourse of 1960s and 70s conceptual art, but takes this critique of ideology from the insulated art world out into the streets and living rooms of America.

 

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