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Texte zur Kunst 111 : Amerika
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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(...)
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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Texte zur Kunst 120: The Feminist, 30 Years TZK
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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(...)
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.
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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.
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.
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Texte zur kunst : septembre 2012
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Issue 85 of Texte zur Kunst is dedicated to art historiography. This is now the third time that we seek to shed light on the methods and principles of this humane discipline, the discourses of which form the crucial foundation of our magazine. While the 1994 issue under the heading “Art History Under Construction” put the import of theories from the Anglo-American(...)
Texte zur Kunst 85: Art History revisited
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Issue 85 of Texte zur Kunst is dedicated to art historiography. This is now the third time that we seek to shed light on the methods and principles of this humane discipline, the discourses of which form the crucial foundation of our magazine. While the 1994 issue under the heading “Art History Under Construction” put the import of theories from the Anglo-American countries to Germany up for debate, an issue from 2006 was concerned with reflecting on the state of affairs of a discipline that at the time was extremely influenced by visual studies and an increasing enthusiasm for “contemporary art”. The current issue, in contrast, focuses on the norms to which historiography is subjected and the effects produced by its view to the past. In seven essays, common art-historical paradigms are called into question and examined a new perspective. Established academic notions are revised on the one hand; while selected themes are taken up to elucidate the principles of knowledge and theory production on the other.
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Texte zur Kunst 98: media
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Going beyond discussions of post-Net production in the digital realm, this issue invites in the ghost of Friedrich Kittler to address “media” via the nexus of its fraught theoretical legacy – ’90s techno-determinism versus the biopolitical forces of capital in the social field. What if, rather than writing a social history of media, we thought through media to read our(...)
Texte zur Kunst 98: media
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Going beyond discussions of post-Net production in the digital realm, this issue invites in the ghost of Friedrich Kittler to address “media” via the nexus of its fraught theoretical legacy – ’90s techno-determinism versus the biopolitical forces of capital in the social field. What if, rather than writing a social history of media, we thought through media to read our social sphere? The fallout is recombined here as a framework for engaging, and perhaps upending, contemporary relations of body, class, and power and the devices and cultural techniques by which they are bound.
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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(...)
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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Das Individual/The Individual
Texte zur Kunst 104: The individual
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Das Individual/The Individual
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