Tag: Diedrich Diederichsen

TEXTE ZUR KUNST #105
MARCH 2017 “THEY ARE US"

 

ISSUE NO. 105 / MARCH 2017 “THEY ARE US / WIR SIND IHR”

With Issue #105, TZK considers the nationalist, conservative, and racist ideologies that have recently become more visible across Europe and the US, giving particular focus to questions of border politics and migration — of humans, of data, of patrimony, of signs. Advised by Helmut Draxler, Isabelle Graw, and Susanne Leeb, this issue was conceived prior to the US presidential election as a cooler reflection on present political debates. And yet having been produced amid the chaos of the Trump administration’s first weeks, it also necessarily stands as a reflection of political-aesthetic thinking during markedly volatile times: Wir sind Ihr? They are us? We are them?

TABLE OF CONTENTS:

FORWARD

PREFACE

ROUNDTABLE
BUT WHO IS “THEY”? / Roundtable discussion with Manuela Bojadžijev, Nikita Dhawan, and Christoph Menke, moderated by Helmut Draxler on Refugee and Migrant Flows as a Challenge for Political Thought

OVERCOMING MUTE RELATIONS, OR, 
THINKING WITH YOUR FEET / Angela Melitopoulos in conversation with Susanne Leeb

Daniel Keller
NEW DEVELOPMENT
HALFTIME VIBES / John Kelsey on Meditations in an Emergency
WEDER WOHNUNG NOCH WÄHRUNG / Diedrich Diederichsen über den Intendantenwechsel an der Berliner Volksbühne
BEGEHREN IN BETON / Benjamin Meyer-Krahmer über die Feuerle -Collection

LIEBE ARBEIT KINO
OF DREAMS, LIES, AND WIRES / Tom McDonough on Adam Curtis’s “HyperNormalisation”
MEDIALER GESTUS / Rainer Bellenbaum über Douglas Gordons Film 
„I Had Nowhere to Go“
EU DESESPERO E ABRAÇO A TUA AUSÊNCIA: 
“AQUARIUS” OR CINEMA AFTER NEO-FASCISM  / Daniel R. Quiles on Kleber Mendonça Filho’s “Aquarius”
FAST UNANGENEHM DEUTLICH / Anke Dyes und Anna Voswinckel über Jill Soloways 
Fernsehserie „I love Dick“

ROTATION
MACH ES NICHT SELBST / Daniel Loick über „Staying with the Trouble. Making Kin in the Chthulucene“ von Donna Haraway
(POST-)EMPIRE STATE OF MIND / Emily Segal on Cat Marnell’s “How to Murder Your Life”
RELEVANTE UPDATES / Christian Egger über Raymond Pettibon im 
Museum der Moderne Salzburg

SHORT WAVES
Micaela Durand on Heji Shin at Real Fine Arts, New York / Arne Schmitt über Candida Höfer im Neuen Berliner Kunstverein / Hans-Jürgen Hafner über Peter Duka bei Zwinger Galerie / Ana Finel Honigman on Dan Attoe at Peres ­Projects, Berlin / Tina Schulz über Willem Oorebeek im Magazin 4 in Bregenz

REVIEWS
ZUCKER UND SHAME / Ulrike Bergermann über „Deutscher Kolonialismus“ 
im Deutschen Historischen Museum, Berlin
MODELS AND AGENCIES / Ben Caton on “The Ulm Model” at Raven Row, London
ART HISTORY, REMASTERED / Abbe Schriber on Kerry James Marshall at the Met Breuer, New York
AESTHETICIZED PLAY / Stefaan Vervoort on Ludger Gerdes at the Museum Haus Lange, 
Krefeld, Germany

NACHRUFE / OBITUARIES
BARBARA WEISS (1960–2016)
by Monika Baer and John Miller
by Andreas Siekmann
JOHN BERGER (1926–2017)
by Tom Holert
by Svetlana Alpers

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Helen Marten
Parrot Problems

In 2016 Helen Marten is shortlisted for both the Turner Prize and The Hepworth Sculpture Prize.

Parrot Problems was Turner Prize nominated British artist Helen Martenʼs first institutional solo exhibition in Germany. Close to an artist book, 40 pages within the catalogue are designed by Helen Marten herself, featuring unique collages.

In insightful and precise essays Diedrich Diederichsen and Johanna Burton focus on the ‘artist of the hour’, who through processes of manipulation, abstraction and shifting resembles recognisable elements anew; piercing the patina of familiarity covering the density and complexity of our everyday material lives.

Frozen at full speed in vibration between two and three dimensions, the objects and images by Marten proliferate with models and motifs, which define physical and linguistic limits of everyday life.

In acts of jigsaw and camouflage, the recognizable is often shifted into a sense of immediate fuzziness. Both delicate and programmatic, the relationship between image and concept is therefore dependent on a sense of unfolding logic.

Through this emulation and repetition of ubiquitous gestures, expressions and objects the resultant differences between mimicry and metaphor are made productive: as Parrot Problems. Whether composed of leaves, glazed ceramic, cast aluminium, coins or timber, Marten’s assemblages distill the customary order of things to arrange it afresh.

Published retrospectively after the exhibition Helen Marten: Parrot Problemsat Fridericianum, Kassel, 6 September – 2 November 2014.

Texts by Diedrich Diederichsen and Johanna Burton.

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Cosima Von Bonin
HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT

HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT, includes more than 100 works by Cosima von Bonin, ranging from her earliest to completely new works.

This retrospective exhibition also shows how von Bonin’s work has moved more and more in the direction of installations that increasingly come to take possession of the space they are placed in.

Another typical feature of her work is a complex network of relations between the fine arts and music that she has established, including longstanding colleagues and friends in her exhibition projects.

At mumok Vienna, Tocotronic and Phantom Ghost accompany the exhibition with concerts, and two further new formations from von Bonin’s circle of friends and acquaintances, The 3 Ypsilons and The Ypsilon Five, perform at the exhibition. The mumok museum facade gains a new balcony for this exhibition, with a figure standing on it and retching.

Appearances by Isa Genzken, Mike Kelley, Carl Andre, Martin Kippenberger, Christophe Verfaille, Okka-Esther Hungerbühler, Cady Noland, Helmut Baar, Colin de Land, Paul Thek, Michael Krebber…

Published on the occasion of the exhibition Cosima von Bonin: HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT at mumok, Vienna, 4 October 2014 – 18 January 2015.

Edited by Karola Kraus
Texts by Clara Drechsler, Diedrich Diederichsen, Manfred Hermes.

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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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