39 Results
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Nouveau numéro en librairie / New issue un store!
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Nouveau numéro en librairie / New issue un store!
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Texte zur kunst : septembre 2012
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Nouveau numéro en librairie / New issue un store!
Texte zur kunst : septembre 2012
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Nouveau numéro en librairie / New issue un store!
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journals and magazines
journals and magazines
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September 2012
September 2012
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Magazines
Magazines
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journals and magazines
journals and magazines
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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(...)
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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(...)
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.
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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journals and magazines
journals and magazines
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September 2022
September 2022
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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 #128: Art history update
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The latest issue is now available at the bookstore.
Texte zur kunst #128: Art history update
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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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December 2022
December 2022
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Magazines
Magazines
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journals and magazines
journals and magazines
Title:
Texte zur kunst 81
Texte zur kunst 81
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On the occasion of its 20th anniversary TEXTE ZUR KUNST organized an international symposium at Theater Hebbel am Ufer (HAU1) in Berlin in December 2010. Under the programmatic title, “Where do you stand, colleague?”, lectures and panels addressed the fundamental question of the relationship between art criticism and social critique. Issue #81 "Where do you stand,(...)
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On the occasion of its 20th anniversary TEXTE ZUR KUNST organized an international symposium at Theater Hebbel am Ufer (HAU1) in Berlin in December 2010. Under the programmatic title, “Where do you stand, colleague?”, lectures and panels addressed the fundamental question of the relationship between art criticism and social critique. Issue #81 "Where do you stand,(...)
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Texte zur kunst 81
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On the occasion of its 20th anniversary TEXTE ZUR KUNST organized an international symposium at Theater Hebbel am Ufer (HAU1) in Berlin in December 2010. Under the programmatic title, “Where do you stand, colleague?”, lectures and panels addressed the fundamental question of the relationship between art criticism and social critique. Issue #81 "Where do you stand, colleague?" compiles all seventeen lectures and statements of the symposium and documents the exhibition "With your art" photographically.
Texte zur kunst 81
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Summary:
On the occasion of its 20th anniversary TEXTE ZUR KUNST organized an international symposium at Theater Hebbel am Ufer (HAU1) in Berlin in December 2010. Under the programmatic title, “Where do you stand, colleague?”, lectures and panels addressed the fundamental question of the relationship between art criticism and social critique. Issue #81 "Where do you stand, colleague?" compiles all seventeen lectures and statements of the symposium and documents the exhibition "With your art" photographically.
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journals and magazines
journals and magazines
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March 2011
March 2011
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Magazines
Magazines
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journals and magazines
journals and magazines
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September 2009
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September 2009
Title:
Texte zur Kunst 75: geschmack taste
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September 2009
Texte zur Kunst 75: geschmack taste
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September 2009
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journals and magazines
journals and magazines
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September 2009
September 2009
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Magazines
Magazines
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journals and magazines
journals and magazines
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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(...)
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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(...)
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?
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?
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journals and magazines
journals and magazines
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September 2015
September 2015
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Magazines
Magazines
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journals and magazines
journals and magazines
Title:
Texte zur Kunst 98: media
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(...)
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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(...)
Title:
Texte zur Kunst 98: media
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$35.00
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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.
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.
Form:
journals and magazines
journals and magazines
Publication:
October 2015
October 2015
Subject:
Magazines
Magazines
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journals and magazines
journals and magazines
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Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps(...)
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Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps(...)
Title:
Texte zur Kunst 97: bohème/bohemia
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Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps the real displacement and disenfranchisement after which romantic notions of “bohemia” were later formed may again be a very real threat?
Texte zur Kunst 97: bohème/bohemia
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Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps the real displacement and disenfranchisement after which romantic notions of “bohemia” were later formed may again be a very real threat?
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journals and magazines
journals and magazines
Publication:
April 2015
April 2015
Subject:
Magazines
Magazines
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journals and magazines
journals and magazines
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As gatekeeper to artistic production on the one hand and market valuation on the other, the gallerist, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position within the artistic field. But in recent years, the demands of this profession have changed. Expected to maintain 24/7 communication, perpetual travel,(...)
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As gatekeeper to artistic production on the one hand and market valuation on the other, the gallerist, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position within the artistic field. But in recent years, the demands of this profession have changed. Expected to maintain 24/7 communication, perpetual travel,(...)
Title:
Texte zur Kunst 96: the gallerists
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As gatekeeper to artistic production on the one hand and market valuation on the other, the gallerist, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position within the artistic field. But in recent years, the demands of this profession have changed. Expected to maintain 24/7 communication, perpetual travel, and a constant presence at fairs, this art world protagonist has in turn, adapted their role to accommodate these pressures. In light of this, what, today, can we make of the “good” gallerist carefully establishing a stable of artists, “placing” their work over time in particular institutional and private collections? And if a market taking place independently of gallerists is indeed increasing, how then does this affect the established mechanisms of validation and canonization?
Texte zur Kunst 96: the gallerists
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As gatekeeper to artistic production on the one hand and market valuation on the other, the gallerist, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position within the artistic field. But in recent years, the demands of this profession have changed. Expected to maintain 24/7 communication, perpetual travel, and a constant presence at fairs, this art world protagonist has in turn, adapted their role to accommodate these pressures. In light of this, what, today, can we make of the “good” gallerist carefully establishing a stable of artists, “placing” their work over time in particular institutional and private collections? And if a market taking place independently of gallerists is indeed increasing, how then does this affect the established mechanisms of validation and canonization?
Form:
journals and magazines
journals and magazines
Publication:
December 2014
December 2014
Subject:
Magazines
Magazines
