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Title:
Texte zur Kunst 114 : the sea

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Texte zur Kunst : the sea

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Texte Zur Kunst 115 : literature

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The latest issue is now available at the bookstore! In the current issue of Texte zur Kunst, ''Literature,'' the authors explore the emergence of the genre ''autofiction'': a field in literature that has taken up space between the formally distinct categories of fiction and autobiography.

Title:
Texte zur Kunst 100: the canon

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Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.

Title:
Texte zur Kunst 101: Polarities

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Issue 101 of Texte zur Kunst takes “Polarities” as its theme—a term that in the first degree we associate with what’s unfolding around us right now: ideological polarization, from Pegida to Donald Trump. In turn, this issue looks to the macro conditions in which art critical and art historical discourses are currently being formed, and within which they will need to position themselves. What’s particularly striking, we argue, is that this trend toward polarization is happening despite the popular tendency, in recent decades, to speak of increased unification. How, then, can such polarization be reconciled with the dominant, and inherently continuous, neoliberal system—one characterized by the global economy’s promise of inclusiveness; utopian visions of peace (if not survival) via the “singularity” of screen, mind, and body; and a European Union as project of post-Soviet unification, striving to push all conflict to its periphery? What do we make of this growing difference between the ideals of technological/smooth space (where the art world often resides, swiftly neutralizing any resistance as “content”) and the broadening expanses of material unrest? Could the image of polarization be something not to avoid but to engage, at least as a potentially generative model, for understanding true opposition within a continuous system—for times that are anything but free from ideological division?

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Texte zur Kunst 102: Fashion

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Art and fashion have always been interrelated. And it’s due to fashion’s ability to quickly capture social shifts that the art world has repeatedly turned to it. But as Texte zur Kunst No. 102 proposes, it is fashion’s protagonists, recently, that have been markedly drawing on art conceptual practices (e.g., parasitism, collective authorship, détournement, and forms of institutional critique) as they push back against the pressures of a hyper-accelerated fashion market. In this issue, TzK examines, also, how the industry’s current volume is a product of its late-'00s promise of online democratization; the changing function of such long-held value designations as “luxury,” “discount,” and “underground,” and the role of “real”-er bodies in a climate wherein models are preferably “nodels” or “othered” bodies, hyper-individualised to stand out in the stream.

Title:
Texte zur kunst 121 : comedy

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The March issue of Texte zur Kunst, titled ''Comedy,'' investigates the comedic in art while also examining mass-media formats such as TV series and films. Comedy not only offers consolation and comfort by making the tragic seem comic; for the repressed, it also serves as a catalyst, addressing and thematizing repression through jokes, slapstick, or the grotesque. However, at a time when audiences increasingly demand political commitment and authenticity from art, comedic speech, which is inherently disingenuous, has fallen into disrepute: ironically distanced rhetoric is accused of turning a blind eye to social inequality. Together with Bert Rebhandl, author and co-publisher of the film magazine cargo, the editors conceptualized an issue that examines the role of the joke in art, the psychoanalytic dimension of the comedic, and the limits of satire in the age of Donald Trump.

Title:
Texte zur kunst 122 : figuration

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The latest issue is now available at the bookstore.

Title:
Texte zur kunst #127 : resortization

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With the help of the neologism ''resortization,'' this issue discusses the structural transformation currently underway in the domain of art, which compels it to resemble a resort-like environment. In particular, this term encapsulates the tendency of various Blue-Chip Galleries to follow their well-to-do clientele into the reclusion of exclusive luxury enclaves such as Aspen, Saint-Tropez or Monte-Carlo. The issue also engages with the increasing relevance of digital media, which not only plays a growing part in informing processes of recognition but fundamentally influences the conditions under which artistic work is made and experienced.

Title:
Texte zur kunst #128: Art history update

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The latest issue is now available at the bookstore.

Title:
Texte zur Kunst 99: photography

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Decades following the rise of computer aided design and the aesthetic-theoretical debates that coincided, it might seem late, at this point, to place a spotlight on photography. After all, hardly anyone defends photography’s loyalty to the analog index anymore, or mourns the medium specificities of centuries past. And yet, who can dispute that the photograph has become the primary base for establishing identity now, for cohering a social body; one that, as the substrate across which today’s human subject is drawn, stands as, in a sense, our material support? As the image’s gaze has become omnipresent, it is perhaps prime time to ask how do we now understand photo-media to operate? What information do we expect it to carry? What facts do we trust it to convey?