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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(...)
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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(...)
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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?
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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books
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March 2016
March 2016
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Magazines
Magazines
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journals and magazines
journals and magazines
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Texte zur Kunst 102: Fashion
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(...)
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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(...)
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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.
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.
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journals and magazines
journals and magazines
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July 2016
July 2016
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Magazines
Magazines
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From anonymous pamphlets in which 18th-century art critics challenged the authority of the French Académie Royale while claiming to speak for the anonymous public to artists’ collectives like the Guerrilla Girls, who, since the mid-1980s, have harnessed the namelessness of their members for purposes of activism and of institutional and feminist critique: For a long time,(...)
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From anonymous pamphlets in which 18th-century art critics challenged the authority of the French Académie Royale while claiming to speak for the anonymous public to artists’ collectives like the Guerrilla Girls, who, since the mid-1980s, have harnessed the namelessness of their members for purposes of activism and of institutional and feminist critique: For a long time,(...)
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Texte zur kunst #143: Anonymity
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From anonymous pamphlets in which 18th-century art critics challenged the authority of the French Académie Royale while claiming to speak for the anonymous public to artists’ collectives like the Guerrilla Girls, who, since the mid-1980s, have harnessed the namelessness of their members for purposes of activism and of institutional and feminist critique: For a long time, anonymity in the art world was seen primarily as an emancipatory strategy; now, however, developments in society, politics, and media technology call for a critical reassessment. This very inquiry drives the latest issue of Texte zur kunst, "Anonymity." Probing contemporary phenomena in art and media in relation to historical examples and theories, it maps the complex tensions shaping the debate around identity and anonymity today.
Texte zur kunst #143: Anonymity
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From anonymous pamphlets in which 18th-century art critics challenged the authority of the French Académie Royale while claiming to speak for the anonymous public to artists’ collectives like the Guerrilla Girls, who, since the mid-1980s, have harnessed the namelessness of their members for purposes of activism and of institutional and feminist critique: For a long time, anonymity in the art world was seen primarily as an emancipatory strategy; now, however, developments in society, politics, and media technology call for a critical reassessment. This very inquiry drives the latest issue of Texte zur kunst, "Anonymity." Probing contemporary phenomena in art and media in relation to historical examples and theories, it maps the complex tensions shaping the debate around identity and anonymity today.
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books
books
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September 2026
September 2026
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Magazines
Magazines
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books
books
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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(...)
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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(...)
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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.
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.
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books
books
Publication:
December 2015
December 2015
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Magazines
Magazines
Form:
journals and magazines
journals and magazines
Title:
Texte Zur Kunst 116 : evil
Texte Zur Kunst 116 : evil
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"EVIL," the theme of this latest issue of TEXTE ZUR KUNST is often understood as simply the opposite of “good,” and as pure immorality, evil is everywhere today, and somehow also nowhere. It is the “other” par excellence; something we ourselves never are, but by which one always measures one’s own distance. “Evil is over there, not here, not with me.” Given its ubiquity(...)
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"EVIL," the theme of this latest issue of TEXTE ZUR KUNST is often understood as simply the opposite of “good,” and as pure immorality, evil is everywhere today, and somehow also nowhere. It is the “other” par excellence; something we ourselves never are, but by which one always measures one’s own distance. “Evil is over there, not here, not with me.” Given its ubiquity(...)
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Texte Zur Kunst 116 : evil
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"EVIL," the theme of this latest issue of TEXTE ZUR KUNST is often understood as simply the opposite of “good,” and as pure immorality, evil is everywhere today, and somehow also nowhere. It is the “other” par excellence; something we ourselves never are, but by which one always measures one’s own distance. “Evil is over there, not here, not with me.” Given its ubiquity today, we offer texts that investigate what this thing we call “evil” is, as it so often functions as the polar opposite of that which people hold to be just and right. Indeed, who could argue that point, and yet. In this issue, we look specifically at evil’s manifestations in the art world, and in film, politics, and theory, always with an eye toward evil as something potentially playful and ironic.
Texte Zur Kunst 116 : evil
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"EVIL," the theme of this latest issue of TEXTE ZUR KUNST is often understood as simply the opposite of “good,” and as pure immorality, evil is everywhere today, and somehow also nowhere. It is the “other” par excellence; something we ourselves never are, but by which one always measures one’s own distance. “Evil is over there, not here, not with me.” Given its ubiquity today, we offer texts that investigate what this thing we call “evil” is, as it so often functions as the polar opposite of that which people hold to be just and right. Indeed, who could argue that point, and yet. In this issue, we look specifically at evil’s manifestations in the art world, and in film, politics, and theory, always with an eye toward evil as something potentially playful and ironic.
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journals and magazines
journals and magazines
Publication:
December 2019
December 2019
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Magazines
Magazines
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journals and magazines
journals and magazines
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The latest issue is now available at the bookstore!
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The latest issue is now available at the bookstore!
Title:
Texte Zur Kunst 117 : property
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The latest issue is now available at the bookstore!
Texte Zur Kunst 117 : property
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The latest issue is now available at the bookstore!
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journals and magazines
journals and magazines
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March 2020
March 2020
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Magazines
Magazines
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journals and magazines
journals and magazines
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In its September issue 'Anti-Anti-Semitism', TEXTE ZUR KUNST takes a clear stand against any form of hostility toward Jewish people. Together with the art historian Sabeth Buchmann, the publisher Isabelle Graw, and the freelance author Aram Lintzel, the editorial team developed the concept for this issue not only to critically reflect on the massive increase in(...)
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In its September issue 'Anti-Anti-Semitism', TEXTE ZUR KUNST takes a clear stand against any form of hostility toward Jewish people. Together with the art historian Sabeth Buchmann, the publisher Isabelle Graw, and the freelance author Aram Lintzel, the editorial team developed the concept for this issue not only to critically reflect on the massive increase in(...)
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Texte zur kunst 119 : anti-antisemitismus
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In its September issue 'Anti-Anti-Semitism', TEXTE ZUR KUNST takes a clear stand against any form of hostility toward Jewish people. Together with the art historian Sabeth Buchmann, the publisher Isabelle Graw, and the freelance author Aram Lintzel, the editorial team developed the concept for this issue not only to critically reflect on the massive increase in anti-Semitic discrimination but also to focus on the complexity of Jewish art and cultural practices. Anti-Semitism in the art world is discussed here, as well as anti-Semitic implications of the BDS movement and artistic procedures for dealing with anti-Semitism.
Texte zur kunst 119 : anti-antisemitismus
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In its September issue 'Anti-Anti-Semitism', TEXTE ZUR KUNST takes a clear stand against any form of hostility toward Jewish people. Together with the art historian Sabeth Buchmann, the publisher Isabelle Graw, and the freelance author Aram Lintzel, the editorial team developed the concept for this issue not only to critically reflect on the massive increase in anti-Semitic discrimination but also to focus on the complexity of Jewish art and cultural practices. Anti-Semitism in the art world is discussed here, as well as anti-Semitic implications of the BDS movement and artistic procedures for dealing with anti-Semitism.
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journals and magazines
journals and magazines
Publication:
September 2020
September 2020
Subject:
Magazines
Magazines
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journals and magazines
journals and magazines
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Latest issue available in store!
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Latest issue available in store!
Title:
Texte zur Kunst 120: The Feminist, 30 Years TZK
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Latest issue available in store!
Texte zur Kunst 120: The Feminist, 30 Years TZK
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Latest issue available in store!
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journals and magazines
journals and magazines
Publication:
December 2020
December 2020
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Magazines
Magazines
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journals and magazines
journals and magazines
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Texte zur kunst 121 : comedy
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.(...)
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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.(...)
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.
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.
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journals and magazines
journals and magazines
Publication:
March 2021
March 2021
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Magazines
Magazines
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journals and magazines
journals and magazines
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The latest issue is now available at the bookstore.
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The latest issue is now available at the bookstore.
Title:
Texte zur kunst 122 : figuration
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The latest issue is now available at the bookstore.
Texte zur kunst 122 : figuration
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The latest issue is now available at the bookstore.
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journals and magazines
journals and magazines
Publication:
June 2021
June 2021
Subject:
Magazines
Magazines
