Texte zur kunst 132 : lust
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Traditionally, art scholarship and aesthetic theory have taken a chaste stance toward physical pleasure. Carnal, bodily experiences of pleasure are often associated with a loss of critical thinking; they appear as a base impulse that is said to possess no political agency. Contrary to such dismissal, this issue seeks to tease out the critical potential of pleasure(...)
Texte zur kunst 132 : lust
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Traditionally, art scholarship and aesthetic theory have taken a chaste stance toward physical pleasure. Carnal, bodily experiences of pleasure are often associated with a loss of critical thinking; they appear as a base impulse that is said to possess no political agency. Contrary to such dismissal, this issue seeks to tease out the critical potential of pleasure precisely in its very carnality and immediacy. Although pleasure is typically felt to be a deeply personal and inward experience, it is fundamentally premised on our being-affected and thus points up the relationality and incompleteness of our bodies. This suggests a capacity to arouse unforeseen connections in the social sphere that owe their existence not to the quest for some sort of “inner truths” but to the momentary intensification of bodily sensations.
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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.(...)
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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The latest issue is now available at the bookstore!
Texte zur Kunst 112 : noise/silence
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The latest issue is now available at the bookstore!
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issue 106 available
Texte zur Kunst 106: The new left
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issue 106 available
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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(...)
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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September 2009
Texte zur Kunst 75: geschmack taste
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September 2009
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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(...)
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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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,(...)
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?
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