Katharina Grosse

Attention Economy
Jahresring #60: Jahrbuch für moderne Kunst

Edited by Brigitte Oetker and Nicolaus Schafhausen
Interviews with Saâdane Afif, Thomas Bayrle, Michael Beutler, Monica Bonvicini, Mike Bouchet, Ulla von Brandenburg, Angela Bulloch, Andrea Büttner, Keren Cytter, Simon Denny, Thea Djordjadze, Ólafur Elíasson, Harun Farocki, Dani Gal, Katharina Grosse, Eberhard Havekost, Florian Hecker, Christian Jankowski, Susanne Kriemann, Antje Majewski, Olaf Metzel, Carsten Nicolai, Olaf Nicolai, Marcel Odenbach, Silke Otto-Knapp, Willem de Rooij, Cornelia Schleime, Michael Stevenson, Hito Steyerl, Haegue Yang, Tobias Zielony

The 60th Jahresring takes the form of a compilation of artist interviews and offers a snapshot of a highly active art scene that stretches from Berlin, as a new international center for art. Nicolaus Schafhausen put a series of questions to thirty-one art practitioners, less geared toward the artists’ respective praxis and more toward the conditions under which it arises.

Art’s presence in the field of new media has never been more pronounced; access to media images and Internet-based possibilities for research have significantly altered contemporary art production. The art market too has changed, gaining influence in the field of contemporary art as even art institutions take a different approach today than they did twenty years ago.

The focus in these interviews is on the respective self-positioning by the artists in an era shaped by such far-reaching changes. What emerges are temporally fixed positions within an activity that is, for the most large part, associated with precarious working conditions and the logistics of the market more than ever before. This book offers insight into this “other” dimension of an artist’s existence and registers attention economy as a central component of contemporary art production.

Design by Tobias Donat

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PX: Thoughts On Painting

PX: Thoughts on Painting was published following the two-part PX exhibition at St Paul Street Gallery, AUT University, Auckland – A Purposeless Production: A Necessary Praxis, curated by Leonhard Emmerling, and Snow Falls on Mountains Without Wind, curated by Jan Bryant.

This book functions both as a theoretical study of painting practice – two opposed essays disagreeing about the supposed purpose or operation of contemporary painting – and an exhibition catalogue, illustrating in full the wide variety of practices that made up this show of the work of painters (in the widest sense) from New Zealand, Europe and the US:

Whitney Bedford, Richard Bryant, Amelia Harris, Dil Hildebrand, Colin Lawson, Saskia Leek, Patrick Lundberg, Michel Majerus, Fiona Macdonald, Isobel Thom, Barbara Tuck, Genevieve Allison, Guy Benfield, James Cousins, Simon Glaister, Kerstin Gottschalk, Katharina Grosse, Simon Ingram, Imi Knoebel, Tumi Magnusson, Paul McCarthy, Judy Millar, Ben Morieson, Gerhard Richter, Nedko Solakov.

Bryant and Emmerling’s essays pay particular attention to the legacies of conceptualism and the diverse relations that contemporary painting holds with various art-historical, philosophical and political discourses. Here we find the figure of painting radically expanded for the twenty-first century.

Fusing Kant’s definition of art as ‘purposeless’ with Adorno’s notion of the autonomous work of art as the only one with utopian potential, Emmerling’s text considers painting’s complete uselessness as the basis of its inalienability. Bryant adapts Jean Paulhan’s ideas on cliché and terror and attempts to delineate a certain genealogy that might account for aspects of contemporary painting practice that can’t be folded neatly into dominant art-historical discourses, even when a dialogue with art history is being carried out.

Texts by Jan Bryant and Leonhard Emmerling
Designed by Tana Mitchell

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