Texte Zur Kunst #95

“Art vs. Image”—this opposition refers to recent changes and conflicts in the academic field and in artistic and curatorial practices. They correspond with symptomatic developments, like a growing interest in images that lie “beyond,” or “outside” of art; a steady increase of writing in the fields of image studies and philosophy; or proclamations of an age “after art” in which images assume art’s legacy. While shifts in technology are changing art production, the contemporary criteria for success seem increasingly contingent on iconic potency and the optimized potential for circulation as image. The necessity of distinguishing between two different concepts is clear: numerous artistic practices would, in fact, disappear if art were predominantly located in the sphere of image production.

And whereas a critical analysis of art is well put in place, there still seems to be a lack of comparable attempts when it comes to analyzing images. The questions raised in the field of image studies often pertain to the ontology of the image, not to its politics, production, or economy.

In this issue, we call for a critique that does not dwell on surface phenomena, but poses questions as to how images come into being. We consider the often underdeveloped differentiation in the discourses on art and image; questions of status attached to the two concepts; and the operational logics of image production inside and outside the art context.

The issue also features a statement by the late Harun Farocki, as well as a commemoration of the filmmaker’s and author’s life and work by Diedrich Diederichsen.

Plus a picture spread by Marlie Mul and reviews from Basel, Berlin, London, Los Angeles, Munich, New York, Oslo, Pittsburgh, Sørbråten, and Venice.

Exclusive new artists’ editions by Ken Okiishi and Elizabeth Peyton.

English content:


Main Section

Gertrud Koch
“False Reconciliation”
For a conceptual and practical differentiation of art and image

Peter Osborne
“‘Art’ versus ‘Image’?”

“Studies Oblivious to Power”
A statement by Daniela Hammer-Tugendhat on “Bildwissenschaft” (Image Studies)

“On Image Questions”
Harun Farocki responds to TEXTE ZUR KUNST

“Digital Reflex”
Avery Singer and Ed Atkins respond to TEXTE ZUR KUNST

Philipp Ekardt
“In Defense of Styling”

David Joselit
“Against Representation”

“Refusing Prestige”
A conversation between Georges Didi-Huberman, Ludger Schwarte and Philipp Ekardt

Peter Geimer
“Image and Art”
Notes on a relationship

Charlotte Klonk
“Beyond Black and White”
Reception-aesthetic reflections on the distinction between image and art

Inge Hinterwaldner
“Deep Layers of Design”


George Baker
“The Greatest Artist of the Nineteenth Century”
On T. J. Clark’s Picasso and Truth

Tavia Nyong’o
“Profaning the Unprofanable”
On Why Do The Heathen Rage? by The Soft Pink Truth

Chris Reitz
On No Problem: Cologne / New York 1984–1989 at David Zwirner, New York

Megan Francis Sullivan
“After Tina Matkovic”
On Other Primary Structures at the Jewish Museum, New York

Jenny Jaskey
“Do you want the real thing, or are you just talkin’?”
On Jutta Koether at Reena Spaulings Fine Art, New York

Johanna Burton
“Split Subjects”
On Anicka Yi at 47 Canal, New York

Jakob Schillinger
“MUD Club”
On Sam Pulitzer at Artists Space, New York

Daniel Horn
“Body and Soul Redux”
On Paul Chan at Schaulager, Basel

Jens Hoffmann
“United States of Biennials”
On Whitney Biennial, Carnegie International, and “Made in L.A.”

Petra Lange-Berndt
“Biography as Alibi”
On Sigmar Polke at the Museum of Modern Art, New York

Monica Amor
“A Farewell to Arts”
On Lygia Clark at the Museum of Modern Art, New York

Edward Dimendberg
“Exit the Political”
On the 14th International Architecture Exhibition, Venice

Artists’ editions
Ken Okiishi
gesture/data (micro thumbnail scale, boxed), 2014

Elizabeth Peyton
Elias, 2014


Texte Zur Kunst #95
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