Anne Imhof - Untitled - 2017 SOLD OUT
For her edition for TEXTE ZUR KUNST, Anne Imhof has reproduced a motif from her award-winning work for this year’s Venice Biennale. The silkscreen print measuring 31 x 42 inches is a portrait of the artist Eliza Douglas, who plays a central part in many of Imhof’s performances, including “Faust,” the five-hour piece that opened at the German pavilion earlier this month. Produced in and around a glass construction inserted into the pavilion, the work goes beyond scambling classical regions of the theater to establish a stage from which there is no retreat, a place of totalizing surveillance; “Faust” also invokes various motifs of what is “German” in pop (not to be confused with pop in German; think Joy Division, not Rammstein).
In the almost life-size picture, Douglas’s naked upper body is half concealed by her cocked leg; a tattooed letter A appears on her shoulder; her mouth is open, perhaps she is singing. Yet her gaze is provocatively trained on the camera, arrested the beholder; Douglas draws her in only to also confront her.
The print – which is based on a photograph taken by Nadine Fraczkowski during the „Faust“ rehearsals – appears as part of Imhof’s Venice installation. The temporal and spatial boundaries between making art and doing nothing with friends, between being exhibited and solitude dissolve. With this silver-gray portrait of Douglas, Anne Imhof may seem to be picking up on the possible comparison of her practice to the Factory: with Douglas appearing, here, as a latter day Edie Sedgwick.
Medium: Silkscreen (acrylic) on paper
Size: 106 x 78 cm
Edition of 60 + 15 A.P.
Numbered and signed on the back
Price: € 680 (Additional amount for special subscribers € 300) SOLD OUT
Sean Landers - Buffalo Minotaur - 2017
From Marcel Duchamp to Guy Debord, “chance” has been a true ally of modern artistic production, an operation able to locate the creative act beyond learned behavior and engrained patterns, beyond what the artist already understands.
It is this process that Sean Landers has employed as a starting point for his recent painting series “Small Brass Raffle Drum,” from which this TEXTE ZUR KUNST edition comes. Using this old-school analogue apparatus as a randomizer, the American artist filled it with 300 small wooden cards, each marked with a different feature or ingredient that he’d located by looking back through his own past 25 years of painting production. Spinning the drum, he would then select seven cards to inform the composition of each new work. As such, the drum is capable of generating more than 40 trillion unique combinations – thus functioning as a kind of external brain – to which Landers would then react. For “Buffalo Minotaur,” for example, cards included “maze,” “sunset,” “buffalo,” “Minotaur,” “1970s leather jacket,” and “Salvador Dalí” and brought into the painterly field not only the autonomous associations these elements carry in their own right (whether via academic or pop cultural discourses, etc.), but also their specific past role within Landers’s own oeuvre: the Minotaur referencing a work he had based on a painting by George Watts that hangs in the Tate; Dalí bearing relation to Landers’s 2014 series of surrealist paintings; and so forth. How Landers then brings these signifiers into narrative tension reveals the psyche of the artist – or in this case, a portrait of the artist … as a young Buffalo Minotaur, perhaps?
Medium: Ditone print
Image size: 61 x 53.3 cm
Paper size: 66 x 58.4 cm
Edition of 100 + 20 A.P.
Numbered and signed on the back
Price: € 350
These limited edition prints are available at Texte zur Kunst
