Texte zur Kunst

Now online: Aïcha Revellat on Beverly Buchanan at gta exhibitions, Zurich After graduating with two medical degrees from Columbia University, Beverly Buchanan started her public health career in the early 1970s, working in the Bronx and New Jersey while simultaneously advancing her artistic practice by pursuing professional training. Series such as “Black Walls” demonstrate how she incorporated the increasingly ruinous state of her urban surroundings – caused by the racist housing and urban development politics of the time – into her work. When Buchanan moved back to the rural South of the US, her interest in architectural fragmentation remained. In her review of the recent show “I Broke the House,” Aïcha Revellat highlights this aspect of Buchanan’s practice, particularly concentrating on the artist’s engagement with fractures in both bodies and buildings. 👉 Link in Bio! 📸 “Beverly Buchanan: I Broke the House,” gta exhibitions, Zurich, 2024; photo Annik Wetter #aïcharevellat @aicha_revellat #beverlybuchanan #gtazürich @gta_archive_ethz @ethzurich @etharchitecturearchive #review #textezurkunst #tzk

Aus unserer aktuellen Ausgabe: Diedrich Diederichsen über „Open Creation and Its Enemies“ von Ellef Prestsæter 50 Jahre nach dem Tod Asger Jorns legt Ellef ­Prestsæter einen Katalog vor, der den Künstler all jenen vorstellt, die sich noch nicht intensiv mit seiner Arbeit auseinandergesetzt haben. Dieser Herausforderung wird die Rezension von Diedrich Diederichsen selbst en miniature gerecht. Zugleich vermittelt sie, dass der Band auch Kenner*innen begeistern kann. Als solcher gibt sich auch Diederichsen zu erkennen. Anhand der im Buch enthaltenen Reproduktionen von Jorns Überlegungen und Positionen sowie Prestsæters kunsthistorischer Ausdeutung derselben konturiert Diederichsen den Künstler als kreative, neugierige und politische Figur. 👉 Link in der Bio! 👆Asger Jorn, „Dodsangst“, 1952; courtesy of IVAM, Valencia #diedrichdiederichsen #ellefprestsæter #asgerjorn #rezension #review #textezurkunst #tzk

A museum exhibition that travels back to the beginnings of impressionism and finally gives some space over to the movement’s less prominent protagonists. A literary trilogy whose central figures experience personal adversity and systemic oppression from a position of privilege. A series of new paintings that refer back to well-known spatial arrangements in the medium, recalibrating conventional power relations in the process. Isabelle Graw tells us what makes “Paris 1874,” Colombe Schneck’s new trilogy of books, and Sanya Kantarovsky’s new show worth seeing and reading. 👉 Link in bio! (Switch the language on site to read the German version.) 📸 Paul Cézanne, “Une moderne Olympia,” 1873–1874, courtesy Musée d’Orsay; 2. Colombe Schneck, © JF Paga; 3. Sanya Kantarovsy, “Breach,” 2024, courtesy the artist and Modern Art, London, photo Pierre Le Hors #isabellegraw @isabelle_graw #impressionism #paris1874 @museeorsay #colombeschneck @colombeschneck #sanyakantarovsky @skantily @stuartshavemodernart #seenandread #textezurkunst

Jetzt online: Anne Meerpohl über Lila-Zoé Krauß im Kunsthaus Hamburg Vielleicht behält die Utopie eines Cyberspace, indem die Codes des Patriachats nicht mehr die Regel schreiben, ihre Anziehungskraft gerade deshalb, weil sie tagtäglich an der Realität des digitalen Raumes scheitert. Die narrativen Möglichkeiten solcher Zukunftsprojektionen schöpft Lila-Zoé Krauß für ihre Protagonistin Girl aufs Neue in einer multimedialen Installation aus. Die Quest der Figur: die Fehlerquelle für eine ihr zugeschriebene Mutation finden. Mit Legacy Russels Konzept des „Glitch Feminismus“ greift Anne Meerpohl auf eine zentrale Komponente von Krauß’ Arbeit zu und schreibt die erste Einzelausstellung der Künstlerin so in die technofeministische Kunstgeschichte ein. 👉 Link in der Bio! 📸 „Lila-Zoé Krauß: [After her Destruction]“, Kunsthaus Hamburg, 2024; Courtesy Lila-Zoé Krauß und Kunsthaus Hamburg, Foto Antje Sauer #annemeerpohl @anne_mee #lilazoékrauß @l.twills #kunsthaushamburg @kunsthaushamburg #rezension #review #tzk #textezurkunst

Jetzt online: Beatrice von Bismarck über Sarah Pierce in der Galerie für Zeitgenössische Kunst, Leipzig Viele der Beiträge unserer aktuellen Ausgabe „Sculpture“ legen dar, wie die zwischen skulpturalen Arbeiten und menschlichen Körpern bestehenden Beziehungen von zeitgenössischen Künstler*innen aktiviert werden, um strukturelle Ausschlüsse offenzulegen. Das Beziehungsgeflecht, das Sarah Pierce jüngst mit ihrer Ausstellung in Leipzig anbot, kehrte etwas anderes hervor: eine „community of exhibition“, wie Pierce es nennt. Die Akteur*innen und Komponenten dieser offenen Gemeinschaft stellt Beatrice von Bismarck in ihrer Rezension vor und zeigt dabei auf, wie die Regeln der Kunstgeschichte und der Kunstausbildung in diesem Zusammenhang hinterfragt werden. Pierce gelingt es, so von Bismarck, durch ihre Konstellationen über den zeitlichen Rahmen der Ausstellung hinauszuwirken. 👉 Link in der Bio! 📸 Sarah Pierce, „Pathos of Distance“, 2015, in „Scene of the Myth”, GfZK Leipzig, 2024; courtesy of GfZK Leipzig, Foto Alexandra Invanciu #beatricevonbismarck @beatricevonbismarck #sarahpierce #sceneofthemyth #GfZKLeipzig @gfzk.leipzig #review #rezension #tzk #textezurkunst

Jetzt online: Marlene Militz über „MarsOnEarth: Die Marsnahme“ von andcompany&Co Wenn es um Ressourcenknappheit und Ersatzplaneten geht, ist der Name Elon Musk nicht weit und die Kritik an ihm einhellig. Wie der Streit um das Tesla-Werk in Brandenburg zeigt, wird die Lage komplizierter, wenn es darum geht, Forderungen der Klima-Bewegung mit gewerkschaftlichen zusammenzubringen: „Kann man gleichzeitig das Ende der Produktion und bessere Arbeitsbedingungen für die Produzierenden fordern?“ fragte kürzlich ein Autor der „taz“. Das neue Stück des Künstler*innenkollektivs andcompany&Co. verschaltet sozialistische Science-Fiction des vergangenen Jahrhunderts mit gegenwärtigen Zukunftsängsten und postkapitalistischen Visionen. Marlene Militz bespricht es vor dem Hintergrund seines literarischen Bezugspunkts – dem Buch „Der rote Stern“ (1908) von Alexander Bogdanow. 👉 Link in der Bio! 📸 andcompany&Co., „MarsOnEarth: Die Marsnahme“, 2024; Foto Barbara Braun #marlenemilitz @marlenemilitz #andcompany&co @andcompanyandco #marsonearth #rezension #review #textezurkunst #tzk

From our June issue, “Sculpture:” Paulina Pobocha on Diamond Stingily’s “Entryways” In her investigation of Diamond Stingily’s sculptural practice, Paulina Pobocha reaches back some 100 years to the readymades of Marcel Duchamp. ­Pobocha utilizes comparison – the classic model of art historical epistemology par excellence – in a precise and ­personal prose that is as simultaneously amusing and serious as its subject. Engaging with the series “Entryways” in this way underscores the autonomy of S­tingily’s door installations. Pobocha views them as hinging exclusively on their materiality, arguing that biographical accompaniments can safely be set aside. 👉 Link in bio! 📸 “Diamond Stingily: Wall Sits,” Kunstverein München, 2019; courtesy the artist, Queer Thoughts, New York, and Greene Naftali, New York #paulinapobocha @paulinapobocha #diamondstingily @ima_beat_yo_ass_on_dis_train #greenenaftali @greenenaftali #sculpture #textezurkunst #tzk

Brand new: TZK Artists’ Edition “Sleeping Head” by Dana Schutz 
The vigorously colored world of Dana Schutz is often populated by surreal and grotesquely contorted figures. They convey a sense of emotional depth while seeming to have sprung from a vivid fever dream. Relatedly, sleep appears to be a recurring theme in Schutz’s editions for TEXTE ZUR KUNST: “Sleepwalker” (2016) approaches the spectator with outstretched hands. Now, with “Sleeping Head,” we hover above the depicted scene, witnessing a humanoid figure in peaceful slumber. The appearance of calmness in the face is juxtaposed with the rest of what is visible to us: wires or electrical cords are attached to the back of an almost elliptical head. Are we peeking in on an alien? Is this a spidery-limbed cyborg with button switches on its head? “Sleeping Head,” the painting this eponymous print references, was shown in “Jupiter’s Lottery,” Schutz’s first solo exhibition at David Zwirner. Depicted in that show’s other paintings seem to be the adult relatives of “Sleeping Head,” roaming in lively jostling klatches. They sport blown-up, distorted heads with comically exaggerated facial features, reminiscent of the papier-mâché masks worn at a southern German “Narrenumzug” (parade of fools). This association seems especially fitting, since Schutz’s exhibition title references an Aesop fable that recounts how Jupiter established a lottery for humankind, with wisdom as the top prize. When one of his daughters won, the god appeased the angry crowd by presenting them with folly in place of understanding. But in foolery, Schutz seems to suggest, there may also lie a certain levity, apparent in the blithe tranquility of “Sleeping Head.”

Our heartfelt appreciation goes to Dana Schutz and Josh Minkus for making this great work possible. 

To order the edition, please follow the link in bio. Image credits: 
Dana Schutz “Sleeping Head,” 2024

Dana Schutz signing the editions in her studio, 2024; courtesy of the artist #danaschutz @joshminkus @davidzwirner @thomasdanegallery @berlin_recom_art #BERLINrecomART 
#textezurkunst #tzkeditions

Brand new: TZK Artists’ Edition “Untitled (Black Bra)” by Richard Prince Richard Prince began appropriating fragments of contemporary visual culture at the end of the 1970s and, closely linked to the Pictures Generation, he has drawn from diverse contexts and created a multilayered oeuvre held together above all by appropriation as an artistic method. By borrowing imagery from advertising, pop culture, or other artists and making it into an element of his own work, Prince questions the mechanisms and protocols of the socioeconomic systems from which his material originated. For his third TEXTE ZUR KUNST edition, Prince has chosen one of his “Black Bra” works, which consists of underwear on canvas – or rather, of canvas wearing lingerie. The motif of the black bra has been a recurring one for Prince recently, including in his latest series of Instagram screenshots, the “New Portraits,” which show lightly clad influencers painting while shirtless, stripped down to their lingerie. Prince’s series highlights the “Rückenfigur” as a particularly popular pose for presenting oneself effectively on social media. Each image of the “New Portraits” is accompanied by comments – a mix of (auto)biographical and art historical notes that form an essential component of the work – posted by Joan Katz (@joankatzz), with whom Prince supposedly founded a band called Black Bra in 1990. “Supposedly” because he subverts principles such as authorship and originality not only by appropriating visuals but also by playing with identities and myths, which are just as fundamental to fame in art and pop culture as iconic images. The motif of the edition “Untitled (Black Bra)” also adorns the cover of Prince’s artist’s book “New Paintings,” dedicated to the “New Portraits” and released by the artist’s Fulton Ryder imprint. Our warmest thanks to Richard Prince as well as Kevin Harris for their generous support! To order the edition, please follow the link in bio. Image credit: Richard Prince “Untitled (Black Bra),” 2024 @richardprince_official #richardprince @galeriemaxhetzler @gagosian @berlin_recom_art #BERLINrecomART #textezurkunst #tzkeditions

An impressively staged presentation of the late American Mexican artist Elizabeth Catlett’s graphic and sculptural works finished its run at Frankfurt’s MMK Tower a few days ago. Christophe Honoré’s new film “Marcello Mio” features Catherine Deneuve and her daughter Chiara Mastroianni, playing themselves and staging real and fictional episodes from their own family history, which was marked by the loss of Mastroianni’s famous father. A new magazine by the French journalist Antoine de Caunes addresses a topic that the lifestyle media usually prefers to avoid: old age. Isabelle Graw has seen and read them all and here offers a short assessment of each. 👉 Link in bio! 📸 “Elizabeth Catlett,” MMK Tower, Frankfurt am Main, 2024, © Elizabeth Catlett Family Trust / VG Bild-Kunst, Bonn 2024, photo Frank Sperling; 2. Christophe Honoré, “Marcello Mio,” 2024, photo © Jean Louis Fernandez; 3. “Vieux,” 2024, © CMI France #isabellegraw @isabelle_graw #elizabethcatlett @mmkfrankfurt #marcellomio #catherinedeneuve #chiaramastroianni #vieux #antoinedecaunes

Now online: Xenia Benivolski on the 2024 Whitney Biennial, New York Curated by Chrissie Iles and Meg Onli, this year’s Whitney Biennial promises its visitors something that is “Even Better Than the Real Thing.” After three decades of identity-based artistic practice and US politics obsessing with the validity and realness of certain subjectivities, a show about reality is a slippery undertaking, as our reviewer Xenia Benivolski points out. The curator and writer takes us on a tour through the show to trace correlations between the exhibited works and their relation to “the real thing,” no matter how enigmatic this term may be. 👉 Link in bio! 📸 Torkwase Dyson, “Liquid Shadows, Solid Dreams (A Monastic Playground),” 2024; courtesy of Whitney Biennial, photo Ron Amstutz #xeniabenivolski @xenianemia #whitneybiennial @whitneymuseum #review #textezurkunst #tzk

Jetzt online: Tobias Ertl und Leonie Hunter über Fabian Ginsberg bei JUBG, Köln Sobald Kunst gehandelt wird – sei es auf dem kommerziellen Markt, dem Markt des Wissens oder im Sinne symbolischer Anerkennung – ist sie, wie unsere Herausgeberin Isabelle Graw im Rahmen ihrer werttheoretischen Beobachtungen mehrfach betonte, eine Ware. Inwieweit und auf welche Weise künstlerische Produkte oder Praktiken, deren Wert nicht zuletzt auf Basis von Fetischisierungs- und Verwertungslogiken generiert wird, wirkungsvoll eine Semiotik herausfordern können, derer sie sich selber bedienen, ist eine wichtige, verlässlich wiederkehrende Frage. Tobias Ertl und Leonie Hunter verhandeln sie hier mit Blick auf Fabian Ginsbergs Ausstellung „Psychedelic Semiotics“. Dabei thematisieren sie die Paradoxien „kapitalismuskritischer Pop Art“ und dechiffrieren einen Teil der theoretischen Referenzen, die Ginsberg in Text und Bild zusammensampelt. 👉 Link in der Bio! 📸 „Fabian Ginsberg: Psychedelic Semiotics“, JUBG, Köln, 2024; courtesy of the artist und JUBG, Foto Mareike Tocha #tobiasertl #leoniehunter #fabianginsberg @ginsbergfabian #JUBG @jubg.space