John Kelsey

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Purple 6
Winter 2000-2001



Purple 6 Winter ’00 ’01
fashion, prose, special fiction, interior

A rare early issue of the iconic Purple magazine, edited by Elein Fleiss and Olivier Zahm, this wonderful early edition features work by: Richard Prince, Susan Cianciolo, Bless, Cris Moor, Lutz, Maison Martin Margiela, Hermés, Giasco Bertoli, Junya Watanabe, Comme des Garçons, Lars Botten, Bernhard Willhelm, Hussein Chalayan, Camille Vivier, Cosmic Wonder, Fendi, Terry Richardson, Anders Edstrom, Balenciaga, Vanina Sorrenti, Helmut Lang, Banu Cennetoglu, Veronique Branquinho, Chikashi Suzuki, Marc Jacobs, Ann-Sofie Back, Lodge Kerrigan, Mark Borthwick, Olivier Zahm, Jeff Rian, Bernard Joisten, Bruce Benderson, Andy Stillpass, Bennett Simspon, Dominique Gonzalez-Foerster, Pete Taylor, Jason Simon, Pablo Leon De La Barra, Panu Aree, Tim Griffin, Dayton Taylor, Dike Blair, Gareth James, Michael Drake, Antek Walczak, Guillaume Nez, Tom Betterton, John Kelsey, Cheryl Donegan, Mark Fishman, Ole Scheeren, Sarah Gavlak, Alix Lambert, Tan Lin, Sharon Mesmer, Sharon Mesmer, Peter Josephs, Benjamin Weismann, Jordan Davis, Fred El Bekkay, Michael Danner, Giasco Bertoli, Andreas Larsson, James Gooding, Alex Antitch, Elein Fleiss, Henry Roy, Rami Maymon, Torbjorn Rodland, Marcello Simeoni, Delphine Roque, Michael Danner, Stefan Ruiz, and many many more.

In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine and Purple. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications like les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple.

* Condition: Very Good – All care is taken to provide accurate condition details of used books, photos available on request.

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Michael Krebber, Gareth James, John Kelsey, Josef Strau
Ical Krbbr Prdly Prsnts Gart Jas, Jon Klsy, Josf Stra

The artist and professor Michael Krebber recently invited his colleagues Gareth James, John Kelsey and Josef Strau to participate in an exhibition with the title “Ical Krbbr Prdly Prsnts Gart Jas, Jon Klsy, Josf Stra.” Minus a few of the necessary letters, the artists’ names became a wall painting transformed into concrete poetry. As the exhibition freed itself from the curator’s reins, the resulting exhibition catalogue also goes against conventional form and order. For example, a foreword by the editor turns out to be an artist’s improvised speech on the topic of “Puberty in Painting” “Now I have written: I can’t decide any longer for one of these points of views or non-points of views.” Artworks are not presented in groups by artist, but rather by associative links of picture strips, found-object texts, prose, drawings and collages.

This title is now out of print.

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Bernadette Corporation
Eine Pinot Grigio, Bitte

“For this book Bernadette Corporation uses screenplay formatting software and the screenplay form with no intention to produce a film or communicate anything. … the hack is used as a starting point for a literature, with hack tools in a hack medium. EINE PINOT GRIGIO, BITTE to remind you of the necessity to understand that all creativity is equal.” Bernadette Corporation

A novel-in-disguise, Eine Pinot Grigio, Bitte is a dark foray into capitalism gone awry. Set against a backdrop of decadent zombies, the screenplay follows John Delp and Aude as they shoot a movie in the cities of Paris, Berlin, and Mexico City. With its wild and messy sense for the absurd, Eine Pinot Grigio, Bitte unravels that conventional Hollywood repertoire of screenwriting all to better recycle both fiction and the real.

Eine Pinot Grigio, Bitte is followed by “Pedestrian Memoranda,” a series of notes on Bernadette Corporation’s temporary underground film studio, operated from 2005–2007 in Paris, Berlin, and Mexico City.

Bernadette Corporation has previously worked under the guise of an eponymous underground fashion label, published a fashion magazine called Made in USA, produced video-films, including the 2003 documentary Get Rid of Yourself, collectively authored the novel Reena Spaulings (Semiotext[e] 2004), as well as exhibited at the 2006 Whitney Biennial, the Witte de With museum, and the Centre Pompidou.

Co-published by Art in General, New York

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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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