Tobias Madison

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k.m Exhibitions/Ausstellungen 2010-2015
Bart van der Heide, Manuel Raeder (Eds.)

 

Edited by Bart van der Heide and Manuel Raeder.

This book is an overview of the exhibition program of Bart van der Heide from 2010 – 2015, which he realised as the director of Kunstverein München. This program includes exhibitions by Silke Otto-Knapp, Ian Kiaer, Tobias Madison, Keren Cytter, Cathy Wilkes, Group Affinity, Willem de Rooij, Trisha Baga, Richard Tuttle, Mei-mei Berssenbrugge, Simon Denny, Nicolas Ceccaldi, Ger van Elk, James Richards, and others. Each exhibition is presented by a corresponding booklet, containing all texts and images. These accompanying publications were designed individually for each exhibition in cooperation with Studio Manuel Raeder. The different designs play with various fonts, formats, and graphic elements. Together with these publications, a variety of coloured images of exhibition views conveys the curatorial direction as well as the identity of the Kunstverein in those years. A reflection by Bart van der Heide and all booklet texts are included in both German and English.

designed by Studio Manuel Raeder

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TEXTE ZUR KUNST #102
JUNE 2016 “FASHION”


Art and fashion have always been interrelated. And it’s due to fashion’s ability to quickly capture social shifts that the art world has repeatedly turned to it. But as Texte zur Kunst No. 102 proposes, it is fashion’s protagonists, recently, that have been markedly drawing on art conceptual practices (e.g., parasitism, collective authorship, détournement, and forms of institutional critique) as they push back against the pressures of a hyper-accelerated fashion market. In this issue, TzK examines, also, how the industry’s current volume is a product of its late-’00s promise of online democratization; the changing function of such long-held value designations as “luxury,” “discount,” and “underground,” and the role of “real”-er bodies in a climate wherein models are preferably “nodels” or “othered” bodies, hyper-individualised to stand out in the stream.

TABLE OF CONTENTS

PREFACE

ROBERT KULISEK & DAVID LIESKE
FASHION PROFILES OF:
69 WORLDWIDE / NASIR MAZHAR / KYLE LUU / ­BERNADETTE VAN-HUY / LIAM HODGES / TELFAR / NIK KOSMAS & JEANNE-SALOMÉ ROCHAT / MARTINE ROSE / JULIANA HUXTABLE / ECKHAUS LATTA / DIS / NHU DUONG /
with texts by Harry Burke, Tess Edmonson, Jack Gross, and Bianca Heuser

INGEBORG HARMS
 “CRYSTAL MESH / Existential imagery in current fashion”

COLLECTIVE SOUL / Jessica Gysel in conversation with Lotta Volkova Adam and Atelier E.B. (Beca Lipscombe & Lucy McKenzie)

CAROLINE BUSTA
 “NEO-BODIES”

NATASHA STAGG
 “ACCESS CODING”

PHILIPP EKARDT
 “DRESSING AFTER THE GREAT DIVIDE / The emancipation of Jonathan Anderson”

CALLA HENKEL & MAX PITEGOFF
 “LAST NIGHT”

ROTATION

IN DER FRÜHE / Peter Geimer über Friedrich Kittlers „Baggersee“

RETURNS OF THE STONE AGE / Sven Lütticken on the exhibition publications for “Kunst der Vorzeit” and “Allegory of the Cave Painting”

ZUR KULTURPOLITISCHEN BEKÄMPFUNG DER MODERNEN KUNST / Otto Karl Werckmeister über die neue Ausgabe von Hitlers „Mein Kampf“

LIEBE ARBEIT KINO

DURATIONAL FASHION / Sara Marcus on K8 Hardy’s “Outfitumentary”

KLANG KÖRPER

HAVE YOU EVER BEEN TO ELECTRIC LADYLAND / Barbara Vinken über Michaela Melián im Lenbachhaus, München

EINE KULTURGESCHICHTE DER ENTGRENZUNGEN / Daniel Martin Feige über „I Got Rhythm. Kunst und Jazz seit 1920“ im Kunstmuseum Stuttgart

SHORT WAVES
Jens Hoffmann on “Unfinished: Thoughts Left Visible” at the Met Breuer, New York  /  Magdalena Nieslony über Agnes Martin im K20, Düsseldorf  /  Dena Yago on Ei Arakawa, Gela Patashuri, and Sergei Tcherepnin at Midway Contemporary, ­Minneapolis  /  Eva Wilson on Das Institut at the Serpentine Sackler Gallery, London /  Julia Moritz on Tobias Madison at Kestnergesellschaft, Hannover

REVIEWS

MARIUS UND DIE INFORMATION / Hans-Christian Dany über „Nervöse Systeme. Quantifiziertes Leben und die soziale Frage“ im Haus der Kulturen der Welt, Berlin

DIE KUNST VERACHTEN, DEN REST DER WELT ANKLAGEN /Susanne von Falkenhausen über Boris Lurie im Jüdischen Museum Berlin

DEUTSCHES VITRINENGLAS / Steffen Zillig über Dierk Schmidt bei KOW, Berlin

NOTHING BUT KINDNESS / Verena Dengler über Lili Reynaud-Dewar in der Galerie Emanuel Layr, Wien

EARLY SYSTEMS ESTHETICS / Craig Buckley on Les Levine at Buell Hall, GSAPP, Columbia University, New York

WHAT A BODY CAN’T DO / Sophie Goltz über Regina José Galindo im Frankfurter Kunstverein und Maria José Arjona in der Kunsthalle Osnabrück

NACHRUFE / OBITUARIES

PIERRE BOULEZ (1925–2016)
 by Björn Gottstein
ZAHA HADID (1950–2016) 
by Than Hussein Clark

EDITION
JOHN MILLER
TORBJØRN RØDLAND

 

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TEXTE ZUR KUNST #101
MARCH 2016 “POLARITIES”

 


ISSUE NO. 101 / MARCH 2016 “POLARITIES”

Issue No. 101 of Texte zur Kunst takes “Polarities” as its theme – a term we associate with what’s unfolding around us right now: ideological polarization, from Pegida to Donald Trump. How do we understand the growing gap between the ideals of tech/smooth space (where the art world tends to reside, swiftly neutralizing any resistance as “content”) and the striated regions of material unrest? How do we understand “polarization” despite our dominant, and inherently continuous, neoliberal system? Given these macro conditions in which art critical and art historical discourses are currently being formed, and within which they will need to position themselves, could the image of polarization be something not to avoid but to engage; perhaps even a potentially generative model for times that are anything but ideology-free?

TABLE OF CONTENTS

PREFACE

ET SOUS LA PLAGE … ? / Philipp Felsch interviews Timothy Brennan on the state of left theory

HELMUT DRAXLER
ALWAYS POLARIZE? / Conditions and limitations of a model of argumentation

LIBERTY, EQUALITY, SECURITY / Four questions for Carolin Emcke

ENTER THE VOID / Roy Scranton and @LILINTERNET on hyperreality and reflexive narrative

DANIEL COLUCCIELLO BARBER AND DAVIS RHODES
THE TERROR WITHIN

ANTEK WALCZAK
GLOBALLY POSITIONED

GABRIELE WERNER
HEIMAT / Notes on the enduring renaissance of an idea
BILDSTRECKE

GERHARD RICHTER
“12 PHOTOGRAPHS OF ULRIKE MEINHOF” / Taken in October 1966 for “Konkret” by Inge-Maria Peters
NEW DEVELOPMENT

NATIONAL CUSTOMS / Sven Lütticken on Germany’s Kulturgutschutzgesetz
ROTATION

IST DER MENSCH DOCH NOCH ZU RETTEN? / Svenja Bromberg über Nina Powers Aufsatzsammlung „Das kollektive politische Subjekt“
HEY MOTHERFUCKERS, HERE IS YOUR ­GENERATIONAL NOVEL / Tobias Madison über Seth Prices Roman „Fuck Seth Price“

SHORT WAVES

Hans-Jürgen Hafner über Daniel Richter in der Schirn Kunsthalle, Frankfurt/M. / Astrid Mania über Verena Pfisterer bei Exile, Berlin / Ana Teixeira Pinto on Július Koller at the Museum of Modern Art, Warsaw / Beate Söntgen über Joan Mitchell im Museum Ludwig, Köln / Daniel Keller on Peter Fend at Barbara Weiss and Oracle, Berlin / Manfred Hermes über Anne Speier bei Silberkuppe, Berlin

REVIEWS

SPERRIGE NAHEVERHÄLTNISSE / Eva Kernbauer über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
DER GESCHMACK DES PRIVATEN / Barbara Buchmaier und Christine Woditschka über die Sammlung Würth im Martin-Gropius-Bau, Berlin
BENEFITS / Sarah Lookofsky on “Collected by Thea Westreich Wagner and Ethan ­Wagner” at the Whitney Museum of American Art, New York
NOBODY EVER DID WHAT WE DID / David Rimanelli on Dash Snow at the Brant Foundation Art Study Center, Greenwich, Connecticut
MALEREI MALGRÉ TOUT / Maria Muhle über „Painting 2.0“ im Museum Brandhorst, ­München
PUNK’S NOT DEAD, JUST DIFFERENT / Gili Tal on “Rum, sodomy, and the lash” at Eden Eden, Berlin
WITHIN YOU WITHOUT YOU / Jenny Nachtigall on Carolee Schneemann at Museum der Moderne, Salzburg
FREMDE ZUNGEN / Yilmaz Dziewior über „Slip of the Tongue“ in der Punta della Dogana, Venedig
LOCAL UNION / Rhea Anastas on Union Gaucha Productions at Artists Space, New York

EDITION

THEA DJORDJADZE
DANA SCHUTZ

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Solar Lice 2xLP
by Tobias Madison, Emmanuel Rossetti, and Stefan Tcherepnin


Catalogue produced in an edition of 1000 copies to accompany the exhibition, Tobias Madison, Emmanuel Rossetti, and Stefan Tcherepnin, “Drip Event” at The Power Station, Dallas, April 10 – July 12, 2013.

The Power Station is a not-for-profit contemporary art space in Exposition Park, Dallas, Texas, founded by Janelle and Alden Pinnell in 2011. It is housed in a former Dallas Power & Light building which was constructed in 1920, and hosts large scale exhibitions which compliment the building’s raw architecture. For each of its international exhibitions, The Power Station works with the artists to produce a publication in conjunction with their project, limited to 1000 copies. Its programming also includes a summer exhibition and additional events each year. The building includes an apartment where artists can live as they create and build their installations. The first exhibitor was American artist Oscar Tuazon.

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