Tag: Amelie von Wulffen

Amelie von Wulffen
Bilder / Works 1998-2016

A monograph on Amelie von Wulffen is long overdue. For more than twenty years, the artist has developed a formal and stylistically wide-ranging work (collages, installation works, animation films, drawings, sculptures and painting), which is reflected in its content persistence. Amelie von Wulffen takes a clear account of the German (cultural) history in the precipitation of the private and personal, and argues as an invaluable chronicler of repression. The biting humor that permeates her work does not stop at a human low ground, though not always as directly as in her drawings and comics. The texts of this richly illustrated monograph examine Wulffen’s contribution to the painting discourse, Psychoanalytic aspects and show the painter as a role model for a young generation of artists. Amelie von Wulffen, born in Breitenbrunn in 1966, lives and works in Berlin.

Texts by Manfred Hermes, Bernhart Schwenk, Amy Sillman
Edited by Isabel Podeschwa, Bernhart Schwenk, Joe Scotland, Amelie von Wulffen

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Texte Zur Kunst #104
DECEMBER 2016 "THE INDIVIDUAL"

Issue #104 of TzK examines a key protagonist of the modern age: the individual. As our cover suggests, there is an inherent tragedy to this being who, however autonomous, is beholden to a program that it must internalize at the price of suffering enormously. This issue takes up the individual not as a fixed subject, but as a mode of the self that shifts according to the current form of governance, asking how 15-some years of the “new spirit of capitalism” has shaped her – as an artist, as an entrepreneur, as a “productive” contemporary self.

ISSUE NO. 104 / DECEMBER 2016 “THE INDIVIDUAL”

TABLE OF CONTENTS

PREFACE

INVEST YOURSELF! / Wendy Brown in conversation with Isabelle Graw

NINA POWER
FROM THE ONE TO THE MANY

CAN THE ENTREPRENEURIAL SELF TWEET? / An interview with Ulrich Bröckling

BUFFERING OF THE SELF: GUISING IN THE MID-’00S / Storm van Helsing, André Rottmann, Sarah Nicole Prickett, Reena Spaulings, @lilinternet, i.i.i., Luther Blissett — on — Luther Blissett, JT LeRoy, Reena Spaulings, @lonelygirl15, Claire Fontaine, An Hero, Lee Williams, and Strom van Helsing

SVEN LÜTTICKEN
SPEECH GESTURES / Notes on the individual and the socialization of language after Gutenberg

WOLFGANG RUPPERT
PRODUCING INDIVIDUALITY / The Artist among his Contemporaries

I’M NOT PUNK / Alex Israel in conversation with Texte zur Kunst
BILDSTRECKE

ANNA HAIFISCH
PORTFOLIO
ROTATION

FEEDBACK FÜR BLINDE FLECKE / Karin Gludovatz über „Jenseits des Spiegels. Das Sehen in Kunstgeschichte und Visual Culture Studies“ von Susanne von Falkenhausen

WORLD WIDE WEB / Anthony Vidler on Felicity D. Scott’s “Outlaw Territories”
LIEBE ARBEIT KINO

LANGSAMER ABSCHIED / Esther Buss über Albert Serras „La mort de Louis XIV“

DAS SICH SELBST TRÄUMENDE INTERNET / Sulgi Lie über Werner Herzogs „Lo and Behold. Reveries of the Connected World“
KLANG KÖRPER

SHARING ANGST / Gaby Tront on Anne Imhof’s “Angst II” at Hamburger Bahnhof, Berlin

SHORT WAVES
Mikael Brkic on Alex Israel at the Astrup Fearnley Museum, Oslo / Steven Warwick on Morag Keil at Eden Eden, Berlin / Hanna Magauer über Dana Schutz bei Contemporary Fine Arts, Berlin / Tonio Kröner über Amelie von Wulffen in der Galerie Barbara Weiss, Berlin / Kari Rittenbach on Margaret Lee at Jack Hanley Gallery, New York / Susanne von Falkenhausen über „Die zu sein scheint, die bin ich.“ Birgit Jürgenssen, Cindy Sherman, Katharina Sieverding und Francesca Woodman in der Galerie Thomas Schulte, Berlin

REVIEWS
INDIVIDUELLER ORIENT / Diedrich Diederichsen über Michael Buthe im Haus der Kunst, München

ÜBERBLENDUNGSVERHÄLTNISSE / Sabeth Buchmann über Ellen Cantor im Künstlerhaus Stuttgart

… MY MERE SELF / Rachel Haidu on Kai Althoff at the Museum of Modern Art, New York

DIE KUNST DER STUNDE / Susanne Leeb über Kader Attia im Museum für Moderne Kunst, Frankfurt / M.

RUBY STERLING ZEIGT STERLING RUBY / Tanja Widmann und Inka Meißner über Sterling Ruby im Winterpalais Wien

DAS VIRTUELLE IM PHYSISCHEN / Hanne Loreck über Katrin Mayer und Eske Schlüters in der Kunsthalle Lingen

WHY BOTHER WITH SHOW BUSINESS? / Bosko Blagojevic on Antek Walczak at Real Fine Arts, New York

WERKE / Nikola Dietrich über Karl Holmqvist und Klara Lidén im Kunstverein Braunschweig
OBITUARY

BIRD OF PARADISE / Frank Wagner (1958–2016) in the words of Julie Ault

EDITION
ROBERT LONGO
OSCAR MURILLO
COSIMA VON BONIN

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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

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AMELIE VON WULFFEN

Published on the occasion of her Aspen Art Museum exhibition, the artist’s first solo presentation in an American museum, this catalogue focuses on Amelie von Wulffen’s recent work. The artist deploys a host of painterly techniques that – while departing from the photographic collage practice for which she is best known – remain deeply referential, wryly revisiting and reprocessing tactics and tropes of modern painting from European Romanticism onward.

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