German text only. The scarcity of ideas of a mass exhibition is a leap from quality to quantity and it constructs uselessness, a reconstruction of that which one would have liked to have at the outset of a career, namely a parade, a demonstration of the idea of autonomy, i.e. of the uncontrolled, uncurated, and unmanipulated. Instead it is what one gets when a career declines, what comes to the fore. A merging of the private into art, yet from there into the public, into the space you enter, the space you will find yourself in if you have come. Namely an uncurated exhibition with 'artist friends' (artist friends aren't friends without art, but artists with whom to symbiotize in a coexistence (to take a noun and to verbalize it)). But don't let yourself be put off by this toying with grammatical terms - they are meaningless and, as it were, ingenerative.
In The Rise and Fall of American Art, 1940s-1980s, Catherine Dossin challenges the now-mythic perception of New York as the undisputed center of the art world between the end of World War II and the fall of the Berlin Wall, a position of power that brought the city prestige, money, and historical recognition. Dossin reconstructs the concrete factors that led to the shift of international attention from Paris to New York in the 1950s, and documents how ’peripheries’ such as Italy, Belgium, and West Germany exerted a decisive influence on this displacement of power. As the US economy sank into recession in the 1970s, however, American artists and dealers became increasingly dependent on th...
What does an assemblage made out of crumpled newspaper have in common with an empty room in which the lights go on and off every five seconds? This book argues that they are both examples of a 'precarious' art that flourished from the late 1950s to the first decade of the twenty-first century, in light of a growing awareness of the individual's fragile existence in capitalist society. Focusing on comparative case studies drawn from European, North and South American practices, this study maps out a network of similar concerns and practices, while outlining its evolution from the 1960s to the beginning of the twenty-first century. This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.
Sigmar Polke is a highly exemplary Postmodernist and perhaps one the most indicative of a truly European avant-garde culture. This book presents a number of critiques which shed light on Polke’s otherwise bewildering display of stylistic references, apparent changes of allegiance and often unorthodox techniques of production.
This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and 30 original interviews, each chapter analyses one of 15 creative cities (San Francisco, Los Angeles, Dusseldorf, New York, London, Manchester, Cologne, Washington DC, Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon), Moscow and Istanbul) and assesses the contemporary situation in each in the post-subcultural era of digital and internet technologies. The book challenges existing subcultural histories by examining less well-known scenes as well as exploring DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.
Permission to Laugh explores the work of three generations of German artists who, beginning in the 1960s, turned to jokes and wit in an effort to confront complex questions regarding German politics and history. Gregory H. Williams highlights six of them—Martin Kippenberger, Isa Genzken, Rosemarie Trockel, Albert Oehlen, Georg Herold, and Werner Büttner—who came of age in the mid-1970s in the art scenes of West Berlin, Cologne, and Hamburg. Williams argues that each employed a distinctive brand of humor that responded to the period of political apathy that followed a decade of intense political ferment in West Germany. Situating these artists between the politically motivated art of 196...
Berlin hat alles, nur kein Meer. Ob es um Theater, Film und Varieté geht, um Galerien und Museen, Architektur, Städtebau und Design oder um ausschweifende Clubnächte – diese Stadt bietet für jeden etwas. Und doch hat Berlin einen sehr eigenen Charakter und hält sich lieber alle Optionen offen, Currywurst und Champagner zum Beispiel. Cool Berlin gibt Einblick in handverlesene Orte, die eine der coolsten Städte weltweit ausmachen. Moderatorin und Berlinexpertin Tita von Hardenberg verrät Insidertipps.