Texte zur Kunst – Anniversary Artists’ Editions 2020

Our friends at TEXTE ZUR KUNST celebrate their 30th anniversary !!!

On the occasion, they have collaborated with eleven outstanding artists to create special editions.
These editions are available at Texte zur Kunst Here

Anne Collier - Woman Crying, Comic (For TzK) - 2020

Anne Collier - Woman Crying, Comic (For TzK) - 2020The weeping woman is a recurring motif in art (and not only in art). It feeds into the misogynistic fantasy of the so-called “weak” sex and its propensity for hysteria and madness. In her “Women Crying” series, the artist Anne Collier, who was born in Los Angeles in 1970 and now lives in New York, probes the clichéd image of the dame breaking out in tears. With an analog camera, she photographs existing depictions of women crying, as found on vinyl record covers and in newspapers and romancecomic strips, focusing on material from the Cold War era with its traditional gender roles and isolating certain details such as the area around the eye or individual teardrops. The specific quality of the series is unmistakable in her anniversary edition “Woman Crying, Comic (for Texte zur Kunst)”: On the one hand, the close-up on the detail of the tear-filled and fear-stricken eye fringed by a dense cornice of lashes brings out the dot pattern of the four-color print, a characteristic process in newspaper and comic-strip production. On the other hand, it shatters the patriarchal frame that contains the woman in the image, extricating her from her assigned place in society.

Medium: Ditone print
Size: 37.12 × 45 cm
Edition of 100 + 20 A.P. + 2 P.P.
Numbered and signed on the back.
Price: SOLD OUT

Eliza Douglas x Anne Imhof - Untitled - 2020

Eliza Douglas x Anne Imhof - Untitled - 2020Since 2016, Eliza Douglas and Anne Imhof have collaborated to produce performances that are often characterized by a close coupling of art and music – a recent example being their performance “Sex,” which premiered at London’s Tate Modern in March 2019. However, painting has taken on growing significance in Douglas and Imhof’s joint practice. In many instances, the collaborative aspect itself is the source of form, as in their “signature paintings,” which they exhibited at Galerie Buchholz in New York in 2017: the superimposition of the two artists’ autographs, executed with an exaggerated panache that suggests the gratification in signing one’s work, speaks to the intermixture of rapprochement and divergence that defines their shared practice. The same act of synthesis is pivotal in the edition they created for “Texte zur Kunst”: each inkjet print is unique. The photographic motifs – scenes in which a performer dives off a stage into the audience – vary, as do the colorful sunset shots overlaid on them. Finally, Douglas and Imhof’s conjoined “signature,” painted on in felt-tippedpen, is different in each print. In a format that blends autograph card and band poster, the works confer iconic status on the pathos of being submerged in the crowd: who wouldn’t love to surf the outstretched hands of adoring fans?

Technique: Inkjet print, marker
Size: 21× 29.7 cm
Edition of 30 + 10 A.P., each unique.
Numbered and signed on the back.
Price: SOLD OUT

Camille Henrot - Okay Not Okay - 2020

Camille Henrot - Okay Not Okay - 2020Inspired by “Jean qui rit, Jean qui pleure” (literally, “Jean who laughs, Jean who cries”), a popular figure with a long tradition in France who embodies the all-too-human ability for sudden and drastic mood swings, “Okay Not Okay” (2020) is a response to the ubiquitous platitude: How are you? One does not usually pose the question out of any real curiosity for another’s well-being; rather, the inquiry functions as a polite, friendly greeting that has become an automatic reflex and thus essentially devoid of sincerity or meaning. For “Texte zur Kunst,” Camille Henrot has created these two gold-plated brass pendants to function as a sort of nonverbal answer to the over-asked question, letting those around you know your mood and indicating whether or not they should risk asking you at all.

Medium: 24k gold-plated brass
Size: 2.6 x 1.8 cm (each pendant) on a necklace
Edition of 30 + 10 A.P.
Numbered necklace, numbered and signed certificate.
Price: € 1,500

Louise Lawler - "Once There Was A Little Boy And Everything Turned Out Alright. The End. (Adjusted To Fit, Distorted For The Time, And For The Benefit Of Texte Zur Kunst)“, 1993/2020

Louise Lawler - "Once There Was A Little BoyThe edition that Louise Lawler, a leading representative of what became known as the Pictures Generation, has created for “Texte zur Kunst” uses a two-line text she has revisited and recontextualized several times in her career: “Once there was a little boy and everything turned out alright. THE END.” In this new edition, a photograph of the phrase as a wall installation has been digitally ‘distorted for the times,’ blurring the letters and words into an indistinct dream sequence.

Medium: Archival pigment print
Size: 15.2 × 11.1 cm
Edition of 30 + 10 A.P.
Numbered and signed on the back.
Price: € 1,500

Albert Oehlen - Preise - 2020

Albert Oehlen - Preise - 2020“You could attach prices to thoughts. Some cost a lot, some a little. And how does one pay for thoughts? The answer, I think, is: with courage.” The Ludwig Wittgenstein quote that features in Albert Oehlen’s anniversary edition, titled “Preise” (Prices), succinctly captures the Janus-faced nature of the neoliberal economy: the price for courageous and free speech or action – the risk, say, of making a fool of oneself with an idea or a picture – may still not be paid in the same currency with which one buys pasta, pears, or cocoa. Still, in the logic of financial capitalism, art – here hinted at by a seated bronze figure – readily aligns itself with the range of goods attainable only to those with the money for it. A pun cast into an image that throws light on itself; a brochure from the supermarket called art.

Medium: Silkscreen
Size: 50 x 35 cm
Edition of 30 + 10 A.P.
Numbered and signed on the front.
Price: 1,500

Thomas Scheibitz - Alphabet T³ - 2020

Thomas Scheibitz - Alphabet T³ - 2020The attempt to create an alphabet of visual art is thoroughly characteristic of the painter and sculptor Thomas Scheibitz. Not only do basic geometric shapes define the visual grammar of his pictures, his motifs also avail themselves of the linguistic repertoire of information encoding and decoding. In this sense, abstraction in Scheibitz’s art is merely another name for the highest possible degree of generality. His catalogue of forms is drawn from figures, lines, grids, and typographies that, invariably, seem like fragments of a language of painting that frames the communicative function of signs as images: as a graphic vocabulary.

This thoroughly painterly engagement with signs is evident in Scheibitz’s “Alphabet T¹–T³,” produced exclusively for “Texte zur Kunst.” The ditone prints on photographic paper are available in three different color variants and treat writing – and more particularly, the letter “T” – as image. Isolated from the rest of the alphabet, which Scheibitz has, overthe course of three years, also painted, the individual letter’s graphic form breaks free of its context. At the same time, this “T” takes us to the very heart of the work that has been done at “Texte zur Kunst” over the past 30 years: no “T” without “K,” and vice versa.

Medium: Ditone print on 308 g/m2 Hahnemühle Photo Rag paper
Size: 37.7 × 30 cm
Edition of 30 + 10 A.P. + 2 P.P.
Numbered and signed on the back.
This edition is available in three color variations with the rectangle in light blue, red, or violet, 10 pieces each.
Price per print: € 1,500

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