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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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Become a TZK member by September 1 and have the opportunity to purchase three limited editions by:

Conny Maier
EUR 490.– Regular price
Free for TZK Members

Pol Taburet
EUR 1,500.– Regular price
EUR 1,010.– TZK Members

Thilo Heinzmann
EUR 1,800.– Regular price
EUR 1,310. – TZK Members
Edition of 35, each piece unique

The TZK membership includes 4 editions (each EUR 490.–) and 4 issues of the magazine TEXTE ZUR KUNST. It is valid for one year and renewed only upon prior agreement.

You can join up until the official release on September 1, 2026, via the link in the bio, or by email at verlag@textezurkunst.de

#connymaier @c.m.connymaier #poltaburet @yves_ciroc #thiloheinzmann thiloheinzmann #tzk #tzkmember by @textezurkunst

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2 months ago

New Artists‘ Editions:

Thilo Heinzmann, “Aicmo”, 2026

Conny Maier, “INTERDEPENDENZ 2”, 2026

Pol Taburet, “Machina Camera”, 2026

👉 To order our editions, follow the link in our bio.
📸 All images courtesy of the artists.

#thiloheinzmann thiloheinzmann #connymaier @c.m.connymaier #poltaburet @yves_ciroc #tzk #tzkeditions by @textezurkunst

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a month ago

Now online: Arindam Sen on "Pont Aeri: El cinema de Warren Sonbert" at Filmoteca Catalunya

When Warren Sonbert began making films as a teenager, Andy Warhol’s early filmic works were a major source of inspiration for him. Like many other New York based filmmakers of his generation – such as David Brooks, Robert Beavers, and Tom Chomont – Sonbert developed an experimental style early on that was also strongly influenced by Gregory Markopoulos, who became his mentor. Sonbert’s characteristic montage technique is often considered diaristically motivated – an illusion that Arindam Sen effectively refutes in the review of a recent touring retrospective in Spain. As Sen elucidates, the filmmaker’s kaleidoscopic compositions are, in fact, more conceptually crafted – guided by grand themes and very specific formal decisions – than an initial impression suggests.

👉 Link in bio!

📸 1. Warren Sonbert, “Carriage Trade,” 1971; 2. Warren Sonbert, “Divides Loyalties,” 1978; 3. Warren Sonbert, “Friendly Witness,” 1989; 4. Warren Sonbert, “The Cup and the Lip,” 1986; © Courtesy of Filmoteca de Catalunya

@__doublenegative
@filmotecacat
#warrensonbert
#tzkreview by @textezurkunst

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2 days ago

Artist Michaela Melián with her edition of Josephine Pryde's „I FOR ONE“

TZK Friends is an ongoing series featuring artists, writers, and friends of Texte zur Kunst

With special thanks to Michaela Melián and Josephine Pryde for their generous support. 🩷

There Is No Art Without Criticism.

Discover the edition by Josephine Pryde on our website.

📸 1.©️ Michaela Melián; 2. Josephine Pryde, “I for One,” 2015 (Texte Zur Kunst edition), ©️Josephine Pryde

@michaela.melian #michaelamelian @josephinepryde #josephinepryde #tzkfriends #textezurkunst by @textezurkunst

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3 days ago

Now online: Michel Foucault’s Impossible Anonymity by Harmon Siegel

To take the centenary of Michel Foucault’s birth in 1926 as an occasion to revisit his reflections on authorship is replete with contradiction. A birthdate, serving as a common tool for identification, marks individuality and subjective development and is thus one part of the author function Foucault situated in its historical stratum in his 1969 lecture “What Is an Author?” On the example of graffiti artist Banksy, Harmon Siegel demonstrates that anonymity doesn’t undo authorship; neither does it resolve the critic’s task of considering the concept’s historicity and ethical implications.

👉 Link in bio!

📸 “Nina Beier and John Miller: The Populace,” AroS - Aarhus Art Museum, 2026/27; © Courtesy the artists and Aarhus Art Museum, photo David Stjernholm

@the_middle_of_the_day @nina_beier_ @arosartmuseum
#harmonsiegel #anonymity #textezurkunst by @textezurkunst

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4 days ago

TEXTE ZUR KUNST and Mendes Wood DM are delighted to invite you to the release of a new limited edition by Pol Taburet:

Pol Taburet’s paintings are often populated by human-animal hybrids that reflect on life, death, and the transition from one to the other. Intertwining historical iconography, digital subcultures, and psychological tension, the distorted figures in his works evoke a profound sense of unease and alienation. As part of an exclusive collaboration with TEXTE ZUR KUNST, Taburet presents the edition “MACHINA CAMERA” (2026).

📸 Here is an exclusive, behind-the-scenes look at Pol signing his edition.

We cordially invite you to the gallery on October 19 to see the work in person and to celebrate with us!

Mendes Wood DM
25 Place des Vosges
75003 Paris
Monday, October 19
5 pm to 8 pm

@mendeswooddm
@yves_ciroc
@michael_woolworth
#tzk #textezurkunst by @textezurkunst

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5 days ago

Jetzt online: Yayoi Kusama (1929-2026) von Stephan Diederich

Als Ende der 1990er Yayoi Kusumas frühe Werke wiederentdeckt wurden, erkannte die Kunstgeschichte insbesondere in ihren „Infinity Nets“ und „Accumulation“-Skulpturen eine andere Spielart des Modernismus als die ihrer männlichen Kollegen im New York der 1960er – auch hinsichtlich Geschlecht und Herkunft der Künstlerin. Die jedoch zunehmend auch auf das Psychobiographische reduzierte Interpretation ihres Werkes wurde gleichzeitig Gegenstand feministischer Kritik. Diese Episode in Kusamas sieben Jahrzehnte umfassender Karriere scheint vergessen, seit ihre immersiven „Infinity Rooms“ zuletzt zu einem Social Media Phänomen wurden. Stephan Diedrich erinnert sich in seinem Nachruf an das Werk einer facettenreichen Person und an die Zusammenarbeit mit Kusama, die stets nach Unendlichkeit strebte.

👉 Link in der Bio!

📸 ©️Yayoi Kusama; Courtesy David Zwirner, Ota Fine Arts

#yayoikusama #nachruf #stephandiederich #textezurkunst by @textezurkunst

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6 days ago

Jetzt online: Ann-Kathrin Eickhoff über Christa Näher in der Galerie Kirchgasse, Steckborn

Der Blick auf Christa Nähers Oeuvre zeigt, wie sich Brüche in einem Werk herstellen lassen, die später als logische Entwicklung erscheinen. Diese Qualität lässt sich als gestalterisches Prinzip in ihren frühen Fotocollagen nachvollziehen. In Malerei und Grafik wiederkehrende Motive wie Tiere, vor allem Pferde und Hunde, tauchen auch in diesen Arbeiten in atmosphärisch aufgeladenen Szenerien auf. Ann-Kathrin Eickhoff nutzt eine der Collagen aus den frühen 1990er Jahren als Einstieg für ihre Rezension von Nähers jüngster Ausstellung „Exzess“ in der Galerie Kirchgasse. Laut Eickhoff wird das Motiv einer geliehenen Körperlichkeit im medienübergreifenden Werk der Künstlerin als bildnerisches Problem durchdekliniert, das die Schau am Bodensee schlaglichthaft auffächert.

👉 Link in der Bio!

📸 „Christa Näher: Exzess“, Galerie Kirchgasse, 2026; © Christa Näher und Galerie Kirchgasse, photo E. Sommer

@ann_eickhoff #anneickhoff @christanaeher #christanaeher
@kirchgassegallery #kirchgassegallery #review #textezurkunst by @textezurkunst

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9 days ago

From the current issue: Daniel Birnbaum on Marcel Duchamp at the Museum of Modern Art, New York

Pseudonymity and authorship, as well as anonymity in collective practice, have always been key aspects of Marcel Duchamp’s work. Not only did he adopt several pseudonyms, such as R. Mutt and Rrose Sélavy, but he was also a cofounder of the Société Anonyme. Another, often overlooked, aspect of Duchamp’s oeuvre is his conception of time – not as a linear progression but as a tool for narrating and understanding his exceptional artistic career. This makes Daniel Birnbaum all the more appreciative of the large-scale retrospective at MoMA, which focuses on the making of the physical objects themselves and presents them chronologically rather than adding yet another layer of interpretation. According to Birnbaum, the exhibition thus succeeds in offering a compelling perspective on how Duchamp constructed his career.

👉 Link in bio!

#danielbirnbaum @daniel.birnbaum #marcelduchamp #momanewyork @themuseumofmodernart #review #textezurkunst by @textezurkunst

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11 days ago

Now online: Ruri Kawanami on Leiko Ikemura at Contemporary Fine Arts, Berlin

Following her survey exhibition “Motherscape” at Albertina Modern earlier this year, Leiko Ikemura’s conception of motherhood as an act of creation outside the confines of patriarchal hierarchies and biological realities takes a new dimension in her current display at CFA in Berlin. Referencing the circular movement of the course of a day, spatially manifested in a colorful exhibition design, the sensual perception of the artist’s cross-disciplinary and cross-cultural practice is centered here. As Ruri Kawanami argues, the idiosyncrasy of her painterly style with a multitude of influences, as well as her specific understanding of motherhood, are conveyed through the work’s materiality – instead of through a fixation on essentialist terms or market-oriented tags.

👉 Link in bio!

📸 1. Leiko Ikemura, “de sensu,” Contemporary Fine Arts, 2026; 2.Leiko Ikemura, „de sensu,“Contemporary Fine Arts, 2026; 3. Leiko Ikemura, „de sensu,“ Contemporary Fine Arts, 2026; 4. Leiko Ikemura, „triple,“ 2025; © Leiko Ikemura, courtesy Contemporary Fine Arts, photo Nick Ash

#rurikawanami #leikoikemura @studioleikoikemura #contemporaryfineartsberlin @contemporaryfinearts #textezurkunst #review by @textezurkunst

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16 days ago

ARCHIVE QUIZ

As this year’s Manifesta 16 Ruhr draws to a close, we’re giving away a small selection of prizes that serve as little mementos of the event.

To win, you’ll need to answer the following question:

Which TZK issue explored the promises and pitfalls of collaborative practices in art?

Please head to our Stories and submit your answer via the question sticker for a chance to win one of three prize packages.

1st prize: Manifesta T-shirt, tote bag, and catalog
2nd + 3rd prize: Manifesta tote bag and catalog

Open to participants worldwide. Submit your answer by October 3, 6 PM CEST.

The three winners will be selected at random and contacted via DM.

Good luck and thanks for taking part!

TZK x Manifesta 16 Ruhr

#textezurkunst #manifestaruhr @manifestabiennial #giveaway #collaborativeart #tzk by @textezurkunst

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16 days ago

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 by @textezurkunst

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17 days ago