Bruno Brunnet Reihenfolge der Bücher (Chronologisch)

The facelessness of the protagonists in Josef Zekoff's paintings is one of their most distinctive features. From emblematic labyrinths - he does also paint ornaments and maps - to drawn stick figures, the in-between space occupied by these paintings encourages self-reflection, which does, however, require courage on the part of the viewer. Or as Florian Waldvogel writes in his introductory text: » Do the protagonists of his paintings seek an encounter with something that goes beyond the world of objects and fixed quantities? Is it, as Martin Heidegger writes in > What is Metaphysics? nothing dread nothing

The collection was not intended as such at the beginning. It was about engaging with and surrounding oneself with the unknown, the incomprehenible. It was about the fascination of imagination and bringing this fascination into one's own home, surrounding oneself with it, in order to remain aware of the constant stimulus of life. The collector has brought in the depths of the unconscious, of philosophy, of painting technique, and he has brought the wild and bustling Berlin into his own contemplative four walls. This collection also tells a contemporary story. It tells of a Berlin of the 90s and 00s in which so much was possible because there were large spaces for little money. The collection also tells us about backyard galleries, improvised project spaces that later became institutions and about " Club Berlin", which brought together parties with art, techno with politics.

THE GARDENER: Dana Schutz painted a new series of paintings in 2021, exhibited at the end of the year at the CFA in Berlin under the title "The Gardener." After the now out-of-print "Waiting for the Barbarians," which featured the painting "Open Casket," that faced violent attacks and strong protests from activists in 2017 during the Whitney Biennial, the artist presents a new style of painting. She exaggerates the expressiveness of her canvases through thick black outlines. While the destructive nature of her 2016 paintings was frightening in a form that could almost be described as sterile due to the curiously joyful and almost "sunny" color palette she used for grim situations and subjects, the new canvases, along with a series of sculptures, appear hard and threatening. To quote Dana Zaja in the accompanying text, which deserves to be read: "In Schutz's pictorial universe, the most mundane activities rest on a dark element, particularly since any form of work seems to constitute an act of rebellion against our lamentable world. Adaptation and resistance go hand in hand."

Songs für Süd-London In seinen neuen Bildern scheint Nick Goss auf den Modus der Erinnerung abzuzielen - wie sie zu jedem Zeitpunkt zwangsläufig mehr als einen Ort und mehr als eine Logik enthält. Andererseits ist es einfach, in den Arbeiten von Nick Goss die Logik der modernistischen Collage oder des kubistischen Zwangs, Dinge auseinanderzuschneiden, zu erkennen. In seinem Bild »Last of England« ist ein Pulk von Leuten in einer an die Zeit der Weimarer Republik erinnernden Art und Weise auf der Leinwand eingekeilt, als sehe man sie in einem zersprungenen Spiegel - eine Tasche, ein Schal, etwas unter dem Arm Getragenes sind alles Teile auf derselben planen Ebene. Betrachtet man sie länger, ist der Effekt nicht wie bei Höchs surrealen Assemblagen oder Kirchners spröden Straßenlandschaften derjenige der Verfremdung oder Desorientierung. Ich sehe die Menschen in den neuen Bildern von Nick Goss eher als Fremde, an die jemand still glaubt, die mit Würde ausgestattet sind. Die Fragmentierung in diesen Werken ließe sich somit besser als eine Art von Sampling verstehen, wie in der Musik. In dieser Distanzierung steckt Humor, wie auch in Goss' Bildern, und hinter dem, was wir sehen, liegt viel mehr verborgen, wie flach oder vergammelt oder vergeblich es auch erscheinen mag. Es hat Spaß gemacht in der Bowling Alley, bis es halt keinen mehr gemacht hat … oder etwa nicht? Ausstellung: CFA Contemporary Fine Arts Berlin; 4/9 - 16/10/2021

In Spichtig's work a similar push and pull between attachment and repellence produces a certain form of iconicity, but one that does not ask for devotion. You recognise something about the pictures, and want to be in proximity to this something, congratulate yourself on how it resonates, bask in the cool, grunge speed of it. But the familiarity at play here stems not from likeness--to you, or your life--but from strangeness. What you recognise is not the content but the outline; if an experience, then of absence... It was actually Stichtig who told me what Marlene Dietrich said of how to keep an audience hooked: who is the one person everyone knows? The one who is not there. "Sing to them," she said. Dietrich and Spichtig practice seduction without betrayal. It is also iconicity without idealism, or even idology. Let me try another one: recollection without memory?

In the age of social media, Henning Strassburger, who studied at Kunstakademie Dusseldorf from 2006 to 2009, explores new perspectives, new approaches regarding habitus and new formal language rules. In addition to the strong charisma that pop culture quite obviously exudes on his work, one is immediately reminded of the dictum of Jasper Johns (1965) in that illusionist painting no longer needs any pictorial illusionism because it has now become an object itself; after all, the ­illusionary representation of an object, an actual object, had become obsolete with Pop Art. This is still valid today, albeit under different circumstances, which is why the exhibition organizer Max Dax is presenting the works of Henning Strassburger in the Hamburg exhibition HYPER also under the aspect that the flood of images on the Internet simulating realism provides an inexhaustible fund of object-like works in the sense of Johns. Accordingly, Henning Strassburger uses the teenage fantasies embodied by net idols as projection surfaces for abstract image motifs: the kiss of two female pop stars on the big stage just as much as the self-invention of a teen star as a tough macho-rapper.

Raymond Pettibons Genie, unvorhersehbare und amüsante Spannungen zwischen Wort und Bild zu schaffen, erreicht mit seinen neuesten Arbeiten, die in diesem Heft gesammelt sind, neues Terrain. Diese Werke, die von lakonischen Einzelbildern bis hin zu collagierten Zeichnungen und Arbeiten reichen, die eine wildere Kakophonie von Bildunterschrift und Bild erkunden, zeigen Pettibon, der neue Höhen und Tiefen von Witz und unwahrscheinlicher Assoziation findet – sowie politischere Inhalte mit Anspielungen auf Obama und die Kriege im Irak und in Afghanistan. Neben diesen Entwicklungen sind auch vertraute Pettibon-Bilder von Sport, Pulp und Psychedelika reichlich vorhanden. Raymond Looker-Upper bietet ein ansprechend gestaltetes Update über das dunkle, aber selten dystopische Universum des Künstlers.