Tomma Abts

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Texte Zur Kunst #97
March 2015 “Bohemia”


Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps the real displacement and disenfranchisement after which romantic notions of “bohemia” were later formed may again be a very real threat?

ISSUE NO. 97 / MARCH 2015 “BOHEMIA”

ENGLISH CONTENTS include:

DIEDRICH DIEDERICHSEN
THE PHYSIOGNOMY OF DISENFRANCHISEMENT
“Faces of bohemia at one hundred and fifty”

THE POSSIBILITY OF LIFE AT THE SYSTEMIC EDGE
Three questions for Saskia Sassen

AT THE END OF ALTERNATIVES
An interview with Cornelia Koppetsch

PHILIPP EKARDT
FIORUCCI MADE ME NORMCORE / Five observations on art, style, and scenes today

DOUGLAS COUPLAND
BOHEMIA = UTOPIA?

DANIEL KELLER
HOTTEST NEW ALT MARRIAGE STACK SOLUTIONS / Paratext and Glossary by Ella Plevin

CAROLINE BUSTA
BASIC INSTINCT / Cyber-channels and the female pose

STEPHAN DILLEMUTH
WHAT’S YOUR NAME, BOHEMIA?

THE DEATH OF ILLUSION / An interview with Noura Wedell

MORAG KEIL
BOHEMIA COMMISSION

O CRONENBERG! (A SPOILER) / Mark von Schlegell on David Cronenberg’s recent movie “Maps to the Stars” and novel “Consumed”

Nick Zedd on Greer Lankton at Participant Inc, New York
Tess Edmonson on Amalia Ulman at James Fuentes, New York
Ana Teixeira Pinto on Oliver Laric at Tanya Leighton, Berlin

NOT ONLY THE HEART IS NOT A METAPHOR / Rachel Haidu on Robert Gober at the Museum of Modern Art, New York

TOTAL CONFUSION / Christian Naujoks on Cosima von Bonin at Mumok, Vienna

GLOOM / Amy Lien and Enzo Camacho on the Taipei Biennial 2014

A GLIMPSE AT THE SOCIAL LIFE OF PAINTINGS / Catherine Chevalier on Marcel Duchamp at Centre Pompidou, Paris

LEWIS BALTZ (1945–2014)
by Jeff Rian

EDITION

TOMMA ABTS
AVERY SINGER

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Jan Verwoert
Tell Me What You Want, What You Really, Really Want

 

Edited by Vanessa Ohlraun

Tell Me What You Want, What You Really, Really Want
brings together a selection of recent writings by art critic Jan Verwoert for the first time. Published in collaboration with Piet Zwart Institute, Willem de Kooning Academy in Rotterdam, the book galvanizes central themes Verwoert has been developing in pursuit of a language to describe art’s transformative potential in conceptual, performative, and emotional terms. He analyzes the power of public gestures to constitute communities as well as the pressure to perform that governs the sphere of creative labor, in order to show how particular artists perform gestures and invoke community differently. Exploring the emotional power games that shape social relations, Verwoert looks for an alternative ethos of action and feeling, asking: How can a modernist approach to artistic form as a means of social critique be expanded to fully avow its subliminal affective undercurrents, and produce a pleasurably crooked form of criticality in art and writing?

“If we perceive the pressure to perform to be innately linked to the regimentation of options, to imagine the ethos of a resistant practice implies an exploration of the conditions, situations, and potentialites that lie beyond the option menus and the exclusivity of the yes and no. In artistic practice this dedication to imagining other ways to perform and other ways to enjoy consumption means claiming the imagination and the aesthetic experience as a field of collective agency where workable forms of resistance can be devised.”

Co-published with Piet Zwart Institute, Willem de Kooning Academy

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Tomma Abts
Düsseldorf 2011

Tomma Abts is one of the most outstanding painters of her generation. Her paintings are created in a slow and strict process in which she applies purely geometric forms, layer upon layer, with oil and acrylic paints, always using the same portrait format of 48 x 38 cm. Isolated recognisable edges and translucent layers make Abts’ works a reflection on the painting process itself. The catalogue brings together her older as well as her most recent works. Drawings that have been created parallel to her canvases over the past years and are thus far not well known will be published here for the first time. This publication is a visual continuation of her work, designed by the artist herself, and contains installation views as well as numerous large-format illustrations.

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