Seven of the artist’s films (2010–2016) are portrayed in synopses through separate series’ of images.
John Kelsey and Caroline Busta analyze the artist’s experimental films, which defy the distinction between fiction and documentary and propose new forms for a post-cinematic present.
Produced in cooperation with the Kunsthalle Zürich on the occasion of Fahrenholz’s solo exhibition at the Fridericianum, Kassel, Germany (25 September 2016 – 1 January 2017).
English and German text.
- Loretta Fahrenholz - Seven Films
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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
LOST TRACES OF LIFE / A conversation about indexicality in analog and digital photography between Isabelle Graw and Benjamin Buchloh
PHOTOGRAPHY, LACAN, AND THE GENIUS OF JEFF KOONS
THE DISTRIBUTED IMAGE
LIFE IN THE SYSTEM
THE PHOTOBOOK, POST-DIGITAL
PHOTOGRAPHY AFTER PHOTOGRAPHY AFTER PHOTOGRAPHY
LECTURE ON THE EXTRA PART
BENJAMIN ASAM KELLOGG
OCULUS DEMOS MAXIMUS
FUTURE NOT PRESENT / Helmut Draxler, Susanne von Falkenhausen, Amy Sillman, and Hong Zeiss on the 56th Venice Biennale
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
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”
WIR SIND GAR NICHT HIER / Joy Kristin Kalu über Richard Maxwells “The Evening”, The Kitchen, New York
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
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
DOROTHEE FISCHER (1937-2015)
- TEXTE ZUR KUNST #99 "Phototgraphy"
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Art in the Periphery of the Center
Christoph Behnke, Cornelia Kastelan, Valérie Knoll, Ulf Wuggenig (Eds.)
Contributions by Marie-Luise Angerer, Christoph Behnke, Ana Bogdanović, Larissa Buchholz, Sabeth Buchmann, Kathrin Busch, Bettina von Dziembowski, Daniel Falb, Paul Feigelfeld, Ulrike Gerhardt, Monica Greco, Erich Hörl, Cornelia Kastelan, Stefanie Kleefeld, Valérie Knoll, Roman Kräussl, Susanne Leeb, Hannes Loichinger, Sven Lütticken, Julia Moritz, Volker Pekron, Pierre Pénet, Dieter Roelstraete, Bettina Roggmann, Stefan Römer, Steffen Rudolph, Michael Sanchez, Magnus Schaefer, Stefanie Sembill, Christophe Spaenjers, Paul Stenner, Jeannine Tang, Olav Velthuis, Ulf Wuggenig
Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. However, beyond static perspectives of such struggles, in a dynamic and globalized artistic field increasingly transformed by the digital revolution, temporary mobility attractors deserve our attention.
This publication attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontalized networks and deterritorialized structures, nor does it fix itself to determinist approaches. In contrast to twentieth-century constructivist approaches and their epistemic fallacies, materialized verticalities and matter-based, infrastructural spaces are brought to the fore.
This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today’s power law–based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows—which also included the works of winners of the Daniel Frese Prize—at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations.
Works by Art Club 2000, Patterson Beckwith, J. St. Bernard, Angela Bulloch, Daniel Buren, Merlin Carpenter, Gordon Castellane, Diego Castro, Nicolas Ceccaldi, Jeremiah Day, Stephan Dillemuth, John Dogg, Maria Eichhorn, Jana Euler, Loretta Fahrenholz, Renée Green, Karl Holmqvist, Gilta Jansen, Monika Jarecka, Tobias Kaspar, Carola Keitel, Jackie McAllister, Josephine Meckseper, Dirk Meinzer, James Meyer, Shana Moulton, nOffice, Christodoulos Panayiotou, Fabian Reimann, Carissa Rodriguez, Megan Francis Sullivan, Katja Staats, Simon Starling, Buffy Summers, Jan Timme, Daniela Töbelmann, Niko Wolf, Amelie von Wulffen, Phillip Zach
Copublished with Leuphana University of Lüneburg
Design and infographics by Sina Hurnik and Kerstin Warncke
- Art in the Periphery of the Center
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MAY #12 features:
The Spoiled Children of Art
— Georges Rey
— Florence Bonnefous
— Éric Troncy
“Project Unité” in Firminy.
Interview with Yves Aupetitallot
Editorial (catalog of “L’Hiver de l’amour”)
— Elein Fleiss, Dominique Gonzalez-Foerster, Bernard Joisten, Jean-Luc Vilmouth, Olivier Zahm
Traffic: Space-times of the Exchange
— Nicolas Bourriaud
The Stranger and the Margin. Interview with Roy Genty
On Loretta Fahrenholz, “Ditch Plains” at Reena Spaulings Fine Art, New York
— Annie Godfrey Larmon
On “Interwoven Globe: The Worldwide Textile Trade 1500-1800” at Metropolitan Museum of Art, New York, and “Decorum: Carpets and Tapestries by Artists” at Musée d’Art moderne de la Ville de Paris/ARC, Paris
— Nick Mauss
Trois petits chats. On “Pierre Huyghe” at Centre Pompidou, Paris
— Neil Beloufa
Mobile Brand Development. On Carissa Rodriguez, “La Collectionneuse” at Front Desk Apparatus, New York
— Jacob King
To the Planetarium. On “The Whole Earth. California and the Disappearance of the Outside”, at Haus der Kulturen der Welt, Berlin
— Vincent Normand
Painting Inside Yourself. On Antek Walczak, “New Transbohemian States” at Real Fine Arts, New York
— Damon Sfetsios, Elise Duryee-Browner
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
- MAY #12
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