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TEXTE ZUR KUNST

@textezurkunst

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Critical discussions of art, literature, fashion, music, and cultural politics since 1990.

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Six conversations - one city. Fifty years of myth, legend — and now, finally, some productive complication.

ART COLOGNE Talks: Fair Enough — TZK Talks Lounge. Organised by TEXTE ZUR KUNST, whose December issue takes a hard, clear-eyed look at the Cologne art scene of the late 1980s and early 1990s. Not to celebrate it. To understand it — and to ask what, if anything, it still has to say.

Because the Cologne of that era carries a lot of legend. Particularly in the USA, the Rhine metropolis became a screen for fantasies of self-determined artistic life. The TZK Talks Lounge goes further than the printed issue: sideshows, counter-projects, and the people who were there but rarely get asked.

Six conversations. Three days. Free for all fair visitors.

Friday 6 November, 14:00 & 16:00
Saturday 7 November, 14:00 & 16:00
Sunday 8 November, 14:00 & 16:00

ART COLOGNE: 5–8 November 2026 | Koelnmesse

Get your tickets via link in bio.

@textezurkunst

Friday 6 November, 14:00

Christian Nagel × Brigitte Jacobs van Renswou
Coopetition in Context.

Nine Cologne gallerists put together THE KÖLN SHOW and said it would change things. The same year, Christian Nagel opened his gallery. Two years later, after being excluded from ART COLOGNE, he co-founded Unfair with Tanja Grunert and Michael Janssen. In conversation with Brigitte Jacobs van Renswou from ZADIK — what actually happened, and what remains of it.

ART COLOGNE Talks Lounge
Free for all fair visitors.

ART COLOGNE: 5–8 November 2026 | Koelnmesse

Get your tickets via link in bio.

@textezurkunst @zadik_koeln

Friday 6 November, 16:00

Matthias Groebel × Barbara Hess
Beside the Scene.

Matthias Groebel arrived in Cologne in 1989 with a painting machine he had built himself. The Mülheimer Freiheit was still echoing. The galleries of Paul Maenz and Max Hetzler were running on social energy and momentum. Groebel worked alone. In conversation with art historian Barbara Hess, he talks about his Cologne — the one that wasn’t in the magazines.

ART COLOGNE Talks Lounge
Free for all fair visitors.

ART COLOGNE: 5–8 November 2026 | Koelnmesse

Get your tickets via link in bio.

@textezurkunst

Saturday 7 November, 14:00

Fr

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Digga @monopolmagazin wann Statement ?

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Four weeks. Mark the date. Join us.

ART COLOGNE 2026 opens 5 November — and Cologne will be ready.

164 galleries from 22 countries. Blue-chip positions alongside the most compelling new voices in contemporary art. NEW POSITIONS, NEUMARKT, COLLABORATIONS, ART + OBJECT. Special exhibitions by ZADIK and LBBW. The ART COLOGNE Prize ceremony. Guided ARTtours with ZADIK’s expert art mediators. Talks programme. All waiting for you. Four days that set the conversation for the year ahead.

Vernissage: 5 November, 16:00–20:00
Public days: 6–7 November, 11:00–19:00 // 8 November, 11:00–18:00

Tickets, floorplans, guided tours and everything you need to plan your visit at artcologne.com — link in bio.

See you in Cologne.

ART COLOGNE: 5–8 November 2026 | Koelnmesse

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#artcologne #artcologne2026 #cologne #köln #contemporaryart neumarkt newpositions november2026

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A big thank you to our media partner @textezurkunst for supporting curated by through the years and reporting from the festival.

Check out their latest issue ”Anonymity“.

To order a copy, please visit textezurkunst.de

#LOVE #curatedby2026

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For @textezurkunst Anonymity issue I wrote about masks and masking, multiplicity and madness. With Joyce Suechen Cheng’s ‘The Persistence of Masks’ (University of Minnesota Press, 2025) as my guide, the piece positions surrealism as para-ethnographic and masquerade(in the field/ in life) as means to destabilise the sovereign self. 🤡 Cheng’s book has incredible case studies across anthropology and art - reorienting those already well trodden and expertly embedding others to topple Surrealism’s western hegemony
Thank you to @marshallmcdonalds for always making me a better writer/thinker and the most enjoyable editing process

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Resortization @textezurkunst

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"Salon does not court the concept in a brittle, superficial manner. It succeeds, much further, in establishing a space for lesser-known positions and for our engagement with them, something that is becoming increasingly rare in the economically strained art world. This Salon isn’t interested in mere footfall. Instead, it endeavours to make viewers sit and stay."

Alice Blackhurst reviews Salon for @textezurkunst. Read the article in full via link in bio 🖼️

Salon curated by Matthew Higgs is on view at Lismore Castle Arts until 25 October, 2026. Open everyday 11am - 6pm.

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Looking back on six years of projects, encounters, and activities in Marseille with artist and musician Michaela Melián, in a conversation for Texte zur Kunst recorded last March. Now online | link in bio @textezurkunst @michaela.melian

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Diedrich Diederichsen über Catherine Christer Hennix im Badischen Kunstverein, Karlsruhe, in der aktuellen Ausgabe von @textezurkunst.

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Maja Ruznic’s “Sea People” 2024, is available as an edition through TEXTE ZUR KUNST.

Ruznic’s figures are both primordial and fleeting, emerging from and dissolving into waves of green-blue and flesh-toned colour. In Sea People, transformation and fluidity meet the psychological and political depths associated with the sea.

@majaruz
@textezurkunst

“Sea People” 2024
Ditone Print on Hahnemühle Photo Rag
46.5 × 60 cm
Edition of 100 + 20 A.P. + 2 P.P
Signed and numbered verso
€490 + shipping

Available through TEXTE ZUR KUNST.

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2016, Texte zur Kunst, zwei Autorinnen im Gespräch.
Ariana Reines sagt, sie denke in letzter Zeit viel über die „Gentrifizierung des Internets“ nach. Das Internet sei inzwischen wie New York: Geld, glänzende Fassaden, „Mobilität nach oben“, eine gewisse Grundherrenmentalität. Menschen markieren ihr Revier und jagen ihre Botschaften nach draussen.  „Im Internet ist Kohärenz Geld, Konsistenz ist Geld, Zeit ist natürlich Geld.“ Je kohärenter das sendende Ich, desto besser. Man muss nur leider immer wieder dieselbe Version seiner selbst produzieren.  Und dann sagt Reines: „Den Gefühlen, die ich nicht kapitalisiere, werde ich nicht gerecht.“
Ein Dilemma für eine Welt, in der zählt, was sich zeigt. Was man für sich behält, bekommt keine Form, keinen Zusammenhang, vielleicht nicht einmal die Aufmerksamkeit, die es verdient. Aber sobald man ein Gefühl nach draussen trägt, darüber schreibt, es veröffentlicht, wird auch daraus etwas Verwertbares.
Chris Kraus kennt das Problem. Sie bekomme ständig Anfragen für mehr oder weniger austauschbare Texte und frage sich dann: Will ich dieses (jedes) Gefühl wirklich „in bare Münze“ verwandeln? Manchmal sei die Antwort nein. „Sehr selten, aber manchmal.“
Im Gespräch geht es ums Schreiben und Schweigen, Intimität und Öffentlichkeit, darüber, wie man aus dem eigenen Leben schreibt, ohne sich selbst zum Produkt zu machen. Eine richtige Lösung finden sie nicht. Vielleicht, weil es keine gibt.
Später erinnern sie sich an eine gemeinsame Fahrt von Tucson nach Albuquerque. Acht oder neun Stunden durch Arizona und New Mexico, durch Berge und Wüste, irgendwann Donner in der Dunkelheit. „Es war traumhaft“, sagt Reines. Und dann: „Das war schön. Und ich schenkte dir eine Jeansjacke.“ „Aus Frankreich. Ich habe sie noch“, sagt Kraus. Danach reden sie weiter übers Schreiben und Kraus resümiert: „Die Textur der Zeit liegt immer in den banalsten Details.“

Chris Kraus und Ariana Reines, „Den Gefühlen, die ich nicht kapitalisiere, werde ich nicht gerecht“, Texte zur Kunst, Heft Nr. 103 / September 2016, S. 89 - 109. @textezurkunst @chriskraus7 @arianareines

(Slide 3 - Joy Williams, Concerning the Future of Souls. 99 Stories of Azrael)

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Join us for the launch of TEXTE ZUR KUNST’s (@textezurkunst) September issue, titled “Anonymity,” on September 9 from 6:30–8:30 pm at Kis Café and Bookstore.

TZK’s September issue reexamines anonymity as a time-honored creative strategy in the context of changing technological and sociopolitical conditions and engages with both its emancipatory and malicious potentials, and addresses the age-old question, “What’s in a name?” along with a range of related queries that pertain to our present and to the art field in particular: What significance do names hold in the art economy? Under what conditions do pseudonyms of artists or critics become brands? To what extent does the disclosure of identity–or the play with masking it–affect the production and reception of art criticism or artistic work?

The launch event explores how the use of personas and literary masks can be leveraged in the liminal zone between fiction and criticism–the domain of Stephanie LaCava (@stephanielacava) and Lynne Tillman (@tillwhentillman) and includes an introduction by TZK’s editor-in-chief, Anna Sinofzik (@marshallmcdonalds).

🔗 RSVP at the link in bio.

📸 Cover image: @marina____faust____

#AmantNY

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