Il lavoro del critico d’arte è, secondo Rosalind krauss, un inventario che va in perpetuo riscritto, ora attualizzando idee e interpretazioni alla luce delle strade che via via I’arte contemporanea imbocca, ora aggiornando il significalo delle opere di cui si tratta. In questi saggi, sparsi lungo tre decenni di studio e di militanza e raccolti dall’autrice in rubriche dai titoli significativi. Rosalind Krauss ricostruisce il proprio percorso di critica d’arie e ripensa in particolare quella che lei stessa ha definito “condizione postmediale”, l’abbandono cioè da parte dell’arie contemporanea della centralità modernalista del medium. Così come per Jean-Francois Lyotard la condizione postmoderna è nata dalla fine dei “grandi racconti”, per la Krauss la condizione postimediale è un ulteriore addio all’idea di coerenza. Il grande racconto dell’arte contemporanea è finito quando l’Arte concettuale e altri movimenti artistici hanno rinunciato alla specificità del medium, giustapponendo immagine e testo nella stessa opera. Secondo questa lettura, i momenti e i temi della fine del modernismo illuminano per contrasto il lavoro degli artisti che cercano di reinventare il medium attraverso I’uso di “strani nuovi apparati”, spesso presi a prestito dalla cultura commerciale, e che sono i protagonisti di questo libro: Ed Ruschi, Christian Marclay, William Kentridge, James Coleman.

As for many other artists of his generation, a central interest for Christopher Williams is the importance of the image in our media based society. Through his installations, performances and videos, but particularly his photography, he examines the ways that these aesthetic conventions and their mediation affect our understanding of reality. Since the end of the 1980s, Williams has referred back to pre-existing images or motifs and borrowed from culture, advertising or film – preferably from previous decades. Objectively distanced and isolated on neutral backgrounds, these prints of animals, plants, industrial products, modernist architecture and people are realised with great meticulousness. Although Williams places great value in the technical precision of their staging and realisation, in contrast to the technical and aesthetic perfectionism of commercial photography, his images are often blemished with flaws and imperfections.

An anthology of new and reprinted essays, interviews and fictional texts on performance art today, Performance Works investigates how artistic institutions and technological change have contributed to changes in exhibition format.

LA Artland is a survey of one of the most vibrant and influential art scenes of recent decades. Having produced world renowned artists such as Mike Kelly, Paul McCarthy, Cathy Opie, Chris Burden, Jim Shaw and Charles Ray, Los Angeles since the 90s has rivalled New York as the US contemporary art capital. With the continuing success of programs at Art Center, Cal Arts and UCLA, as well as a growing gallery scene stretching from blue-chip to artist-run spaces, Los Angeles as an art centre continues to thrive, producing increasingly successful generations of artists. This lavishly illustrated anthology contains over 200 images by 100 artists based in the LA area, working in various media from traditional painting and photography to cutting-edge multi-media installation, video and performance. Essays by Chris Kraus, Jan Tumlir and Jane McFadden explore the LA art scene in depth.

Featuring a black vinyl cover with gold foil stamping, Say So brings together American artist Whitney Hubbs’ (born 1977) recent self-portraits, made in the style of cheap, pornographic pin-up photography. After her acclaimed book Woman in Motion, in which she photographed models, Say So continues her quest to explore and challenge the relationship between the camera and the female body. In it, she uses and abuses her own body to revealing effect in masochistic (BDSM) performances which sit at the intersection of eroticism and humiliation and are wonderfully uncomfortable to digest. Using the camera as both an audience and a mirror, Hubbs positions her work within a long tradition of artists using photographic self-portraiture―from Claude Cahun to Valie Export and Boris Mikhailov―and reworks its language with a stripped-down, rowdy formalism that pays homage to her Riot Grrrl past. Say So offers up an outside position (drenched in inky black humor) responding to precarity, loneliness and marginalization in a world badly off its tilt. Hubbs’ photographic work is accompanied by a new essay by iconic writer and critic Chris Kraus, author of the seminal novel I Love Dick.

An essential compendium on the work, life and legacy of the transgressive autofiction pioneer The American author Kathy Acker was one of the most influential writers of the 20th century. Working through a tradition spanning Bataille, Burroughs, Schneemann, French critical theory and pornography, she wrote numerous novels, essays, poems and novellas from the early 1970s to the late 1990s, among them the classics The Childlike Life of the Black Tarantula, Blood and Guts in High School and In Memoriam to Identity. A truly pioneering postmodernist, plagiarist and postpunk feminist, Acker continues to inspire generations of writers, philosophers and artists, from her contemporaries such as Dodie Bellamy, Avital Ronell, McKenzie Wark and Chris Kraus to younger writers such as Bhanu Kapil and Olivia Laing. Get Rid of Meaning is the first comprehensive publication to synthesize art and literary perspectives on Acker’s work. It shows Acker’s own visual sensibility in her cut-up notebooks and her use of mail-art idioms, and orients her emergence within the 1970s art scenes in New York and California populated by Eleanor Antin, Lynn Hershman Leeson and Constance DeJong, among others—artists who made innovations in performance, of which Acker would make use. Also included is previously unpublished material from Acker’s personal archive and other collections, including correspondence, her library and various personal effects. Contributors include: Kathy Acker, Dodie Bellamy, Hanjo Berressem, Ruth Buchanan, Anja Casser, Georgina Colby, Leslie Dick, Claire Finch, Johnny Golding, Anja Kirschner, Chris Kraus, Sylvère Lotringer, Douglas A. Martin, Jason McBride, Karolin Meunier and Kerstin Stakemeier, Avital Ronell, Daniel Schulz, Matias Viegener and McKenzie Wark.

A pioneering figure in Industrial/experimental music and performance art, Cosey Fanni Tutti has embodied many roles since her early days as one half of COUM Transmissions, alongside Genesis P-Orridge. COUM’s first art exhibition, Prostitution, at the ICA London in 1976, outraged the public with its inclusion of bloodied tampons and photographs of Cosey modeling for porn magazines, and was closed after four days. Cosey and Genesis went on to cofound Throbbing Gristle, the band that pioneered and named Industrial music as a genre; when they split in 1981 she formed the electronica duo Chris & Cosey with TG keyboardist Chris Carter. In 2010, Cosey returned to the ICA for an all-day celebration of her work, arranged by editor and author Maria Fusco. Arising from that occasion, this volume is the first major publication on Cosey, and features contributions by Martin Bax, Gerard Byrne, Cosey Fanni Tutti, Daniela Cascella, Diedrich Diederichsen, Graham Duff, John Duncan, Chris Kraus and many others.

Celebrated works from the 1990s from the Haubrok family collectionArtists featured include Richard Artschwager, Carol Bove, Jimmie Durham, Ólafur Elíasson, Elmgreen & Dragset, Claire Fontaine, Günther Förg, Mario Garcia-Torres, Isa Genzken, Wade Guyton, On Kawara, Philippe Parreno, Charlotte Posenenske, Wolfgang Tillmans, Franz West and Christopher Wool.

On the occasion of her carte blanche at the Palais de Tokyo from 18 October 2017 to 7 January 2018, French artist Camille Henrot is the guest editor-in-chief of this issue 26 of the magazine Palais, devoted entirely to the exhibition “Days are Dogs.” For this exhibition, Camille Henrot brings together an extensive group of her own works along with contributions from international artists with whom she maintains a productive dialogue. The invited artists are David Horvitz, Maria Loboda, Nancy Lupo, Samara Scott, and Avery Singer, as well as the poet Jacob Bromberg. The exhibition “Days are Dogs” explores the ways in which the invention of the seven day week structures our relationship to time. It reveals the way the notion of the week reassures us—giving us routines and a common framework—just as much as it alienates us, creating a set of constraints and dependencies. Each of the seven thematic parts of the exhibition is accordingly dedicated to a day of the week, an allegory for a series of emotions and activities associated with each day which the artworks reflect. Following this same organisation into seven parts, this issue of the magazine Palais explores the different themes of the exhibition. With texts by Ben Eastham, Orit Gat, Haidy Geismar, and Chris Kraus; Miranda Lash in conversation with Lora Ann Chaisson, Chris Sharp and Polly Staple; an interview with Camille Henrot by Daria de Beauvais, the exhibition’s curator; with original contributions by the guest artists Jacob Bromberg, David Horvitz, Maria Loboda, Nancy Lupo, Samara Scott and Avery Singer; as well as a large selection of images of Camille Henrot’s works. Published three times a year, Palais magazine offers an in-depth perspective on the exhibitions and program of the Palais de Tokyo. Palais allows people to see contemporary art in a topical way, as often as possible from the point of view of the artists themselves. Each season, the magazine includes dossiers, interviews, essays, special projects and inserts, all contributed by artists, art critics, historians or theorists, making Palais magazine an essential tool for apprehending contemporary art.

The catalogue accompanies the 5th f/stop Festival for Photography Leipzig – The History of Now – from June 23 until July 1, 2012, initiated and organized by Zentrum für Zeitgenössische Fotografie Leipzig e.V. under the direction of Christin Krause and Thilo Scheffler. On the basis of four exhibitions at the Spinnerei in Leipzig and a diverse support program f/stop explores the medial power of photographic images and strategies of documentation within contemporary art practices.

In Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums to memory–her own memory having been severely tested by a ruptured aneurysm that temporarily washed away much of her short-term memory. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the “post-medium” condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by “knights of the medium”–contemporary artists who extend the life of the specific medium. These artists–including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman–reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The “technical support” is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha’s fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice. The work of the post-medium condition–conceptual art, installation, and relational aesthetics–advances the idea that the “white cube” of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art.

The traditional landscape genre was radically transformed in the 1960s when many artists stopped merely representing the land and made their mark directly in the environment. Drawn by the vast uncultivated spaces of the desert and mountain as well as post-industrial wastelands, artists such as Michael Heizer, Nancy Holt or Robert Smithson moved earth to create colossal primal symbols. Others punctuated the horizon with man-made signposts, such as Christo’s “Running Fence” or Walter de Maria’s “Lightning Field”. Journeys became works of art for Richard Long whilst Dennis Oppenheim and Ana Mendieta immersed their bodies in the contours of the land. This text traces early developments to the present day, where artists are exploring eco-systems and the interface between industrial, urban and rural cultures. Alongside photographs, sketches and project notes, Kastner compiles an archive of statements by all the featured artists alongside related texts by art historians, critics, philosophers and cultural theorists including Jean Baudrillard, Edmund Burke, Guy Debord, Michael Fried, Dave Hickey, Rosalind Krauss, Lucy R. Lippard, Thomas McEvilley, Carolyn Merchant and Simon Schama.

The collection of texts on contemporary art by Jean-Christophe Ammann, with essays on, among others, Alighiero Boetti, Louise Bourgeois, Miriam Cahn, David Claerbout, Marlène Dumas, On Kawara, Markus Raetz, Pipilotti Rist, Rosemarie Trockel, and Jeff Wall. Préface de l’édition française Chapitre I Qu’est-ce que l’art ? L’art commence là où s’arrête le goût Déterminer une position Créativité et innovation Tentatives d’unification Chapitre II Art et public Lire des images et penser dedans des images « Ça, je peux le faire aussi » Chapitre III Musées, collectionneurs, marché de l’art De la maison de l’art aux œuvres qui y sont logées Vademecum pour les commissaires Connaissez-vous Marbot ? Chapitre IV Espace et temps Le point temporel : la date – On Kawara A propos des cartes du monde (Mappa) de Alighiero Boetti et de quelques œuvres analogues L’insondable Francesco Clemente Méditer – Jürgen Krause Le monde avec la tête à l’envers – Markus Raetz Réciprocité – pas de réciprocité : Andreas Slominski Un autre regard sur l’œuvre de Franz Gertsch Anton Henning, le peintre Andy Warhol – Superstar Espérons que le magnétophone fonctionne – un entretien avec Matthias Weischer Paul Thek : transsubstantiation Chapitre V Femmes – Hommes, Erotisme – Sexualité Qu’est-ce qui distingue une artiste femme d’un artiste homme ? Trois artistes femmes et leurs perspectives : Zoe Leonard, Cecilia Edefalk, Miriam Cahn Les femmes de Bettina Rheims (avec des commentaires de Natalie de Ligt) Marlene Dumas – tendre, débauchée, clairvoyante et extatique La pornographie sous-estimée Traumatismes – presque comme dans un conte de fées : Sandra Vásquez de la Horra Homme et femme – Eric Fischl Max Mohr : pourquoi toujours dans un lit ? Masculin – féminin : Rosemarie Trockel Métamorphoses – Elly Strik Vagabonder – les bagues de Dieter Roth Le chien aimant : Johannes Hüppi Porter l’intime dans le monde – Lucie Beppler Les extases de Martin Eder Nobuyoshi Araki Tracey Emin parle d’elle-même Faire pipi – Pipilotti Rist Christoph Hein : Frau Paula Trousseau Antéchrist de Lars von Trier Chapitre VI Torture/Violence Des cuisines comme des instruments de torture – Louise Bourgeois Robert Gober : « La Vierge Marie » au Schaulager de Bâle Les sept dernières paroles Chapitre VII La société – Ordre/Désordre Les pilules miracle de Dana Wyse Fantasmagories : Single Wide – Teresa Hubbard et Alexander Birchler House with Pool – Teresa Hubbard et Alexander Birchler Fratricide : Whitehouse de David Claerbout Pièges – Andreas Slominski « Do it yourself » – Ceal Floyer Jeff Wall – The Storyteller Stefan Exler raconte Un réaliste : Philipp Hennevogl Jeux de rôles vécus – Slawomir Elsner Une merveille : les dessins, aquarelles et vases d’Anna Lea Hucht La clairvoyance intime d’Irene Bisang La perception nue – Judith Ammann Des portes, des portes d’immeubles et des entrées Des escaliers Fenêtres de rue – regarder dedans, regarder dehors, se taire Vérification : la photographie en tant qu’art reste à découvrir Références biographiques Liste et crédits des illustrations

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