Die Frühjahrsausgabe widmet sich den vielfältigen Tanz-, Performance-, Diskurs- und Crossoverpraktiken, wie sie sich im und rund um das Tanzquartier Wien seit 2001 entwickelt haben.

Wahl der Waffen' überprüft dei Arbeitsfelder und Methodologien aktueller Kunstpraxis. Welche neuen Bereiche tun sich im Anschluß an die institutions- und kontextkritischen Modelle der letzten Dekade auf? Welche noch unverbrauchten Strategeme stehen den KünstlerInnen dabei zur Verfügung?

Umelec Magazine since 1997 is the only art magazine devoted to current visual culture in the Czech Republic. It is directed to the international scene, particularly the wider European circle. Its emphasis on art in Central and Eastern Europe stems from its unique position in that region.

Eine rückblickende Neubewertung einiger zentraler Motive des Modernismus: von Retro-Boom und Ausstellungsdesign bis Architektur und künstlerischen Kanons der Moderne.

»Neue Kolonien« wendet sich gegen das Oberflächengerede von Globalkultur. Modelle für eine nicht westlich dominierte kosmopolitische Kunstpraxis.

Diadochenkultur? - Vom Kunstbetrieb, der von Messe zu Biennale zu Messe hechelt, weitgehend unbeachtet hat sich in den unabhängigen Teilen der ehemaligen Machtblöcke ein neues kulturelles Selbstbewusstsein formiert. In erster Linie betrifft dies die Szenen im ehemaligen Einflussbereich der Sowjetunion.

Spooky Realism The remarkably lifelike, unmistakable reality advanced by the art in this issue of PARKETT is deceptive. One finds oneself repeatedly ensnared by the seductive call of recognition, only to end up making the fatal leap into the void.

Umelec Magazine since 1997 is the only art magazine devoted to current visual culture in the Czech Republic. It is directed to the international scene, particularly the wider European circle. Its emphasis on art in Central and Eastern Europe stems from its unique position in that region.

Das Magazin, begleitend zum steirischen herbst, entwickelt einen eigenen, ganz individuellen Blick, eine spezifische Handschrift und wird so zum eigenständigen künstlerischen Projekt.

Das Winter-Heft greift eines der Leitmotive der documenta 12 – »Ist die Moderne unsere Antike?« – auf und denkt es entlang globaler Parameter weiter

Über Ausblendungen und Klitterungen, Verdrängungen und Verwerfungen in der allgegenwärtigen Arbeit des Kulturbetriebes an und mit der Geschichte.

Umelec Magazine since 1997 is the only art magazine devoted to current visual culture in the Czech Republic. It is directed to the international scene, particularly the wider European circle. Its emphasis on art in Central and Eastern Europe stems from its unique position in that region.

Über Ein- und Ausschlussverfahren, Innen- und Außengrenzen des neuen Europa. Wie können künstlerische Positionen das Festhalten an europäischen Nationalkulturen unterlaufen?

Das Magazin, begleitend zum steirischen herbst, entwickelt einen eigenen, ganz individuellen Blick, eine spezifische Handschrift und wird so zum eigenständigen künstlerischen Projekt.

The thirty-seventh issue of Parkett gives cause for celebration: With Charles Ray and Franz West, fifty artists have taken up the challenge of committing themselves to a collaboration with our magazine.

Like two purists who have put the heat on a traditionally cool domain, our collaboration artists in this issue

Modern Art—Modern Life Parkett already published an issue eleven years ago with the collaboration of Edward Ruscha.

PARKETT IS TEN YEARS OLD Since Victorian times, Anglo-Saxon children have enjoyed playing Snakes and Ladders, a board game of ancient Indian origin.

While Olaf Breuning and Richard Phillips acquire new insights by devoting themselves to the world of forms and aesthetic appearances as “taste analysts,” Keith Tyson, a latter-day uomo universale, strides through complex scientific universes as if he were strolling around in an amusement park.

This issue of PARKETT evokes the merger of art and life, not as it was propagated in the late sixties, but as an entity freed from the conspicuous involvement of the artist’s person. Nor is the artist free as a bird, à la Yves Klein’s leap into the void.

There is space in their pictures, not meaning the illusionism that sees the picture as a window through which we look. What John Currin, Laura Owens, and Michael Raedecker carefully conjure with every stroke of the brush is a space that breathes, a field of freedom.

The art in this issue of Parkett is far-reaching. It reaches out physically and mentally; it occupies new territories and makes startlingly self-evident use of materials (Richard Serra); it leaves a traceable trail and takes permanent shape in abstract-concrete pictorial spaces and expanses of color (Bernard Frize); it moves lightly and in torrents, flooding into and over real, furnished rooms (Katharina Grosse).

Our core objective, since we first started 20 years ago, has been to work closely with contemporary artists, for we consider them partners in a joint venture. They, in turn, have consistently demonstrated their commitment in collaborations that contribute substantially to the renown of Parkett.

An extended relationship unites Louise Bourgeois and Parkett. Twenty years ago Louise designed the insert for our 18th issue.

We are looking forward to the future because the changes—only three issues a year, but more voluminous and with a sewn binding, instead of the previous four in an adhesive binding—offer a challenging opportunity to expand the playing potential of our instrument, Parkett.

It used to be a much-debated topic with a buzzword all its own: individual mythologies. The works of Monica Bonvicini, Alex Katz, Richard Prince, and Urs Fischer unmistakably demonstrate how fluid the exchange between collective and individual, between subculture, elitist culture and mainstream has become.

Rigor of Form Six years ago Parkett published an issue featuring a collaboration with Richard Artschwager (No. 23, March 1990). At the time, rather than having essays commissioned on his work, the artist suggested asking authors from beyond the field of art to write on the subject of “Art and Reason.”

Selected Realities. In a recent photograph, Douglas Gordon appears wearing a poorly fitting blonde woman’s wig. This set piece allows him to try on several identities in the imaginary mirror of popular culture:

Art Magazine/Kunstmagazin

A Collaboration with Sigmar Polke.

In Broad Daylight We have chosen to celebrate our fiftieth volume in the most natural of festive illuminations, in “broad daylight,” fully aware that these words are associated today with an undercurrent of disturbing implications.

Hammons creates work that addresses the experiences of African American life and the role that race plays in American society.

GRIDS AND SPRING TIDES. The network or the grid, which had already served Dürer, plays a declared role in Malcolm Morley’s paintings.

Mondrian sighted in front of Matisse at MOMA As if it had suddenly stepped off the wall of the museum, a Mondrian—in the form of a coat worn by a woman—strolls through the Matisse exhibition at MOMA (the classic art event of the past winter):

Thus does Mondrian steal his way into the show of his colleague.

Bruce Nauman’s bloodcurdling litany, “Help me, hurt me sociology; feed me, eat me anthropology,” echoed through the halls of art in his video ANTHRO/SOCIO for the first time in 1991.

As painters, Ross Bleckner and Marlene Dumas share a concentration on lightness and darkness in their quest for the essence of light.

The accumulation of material goods increasingly shapes the spaces we inhabit. Large parts of the contemporary landscape are organized around storage: facilities for warehousing, logistics,

Written by people who live well for people who live badly, mixture of the most serious and stupidest philosophical bullshit, vulgar and sober at the same time, PNB continues the tradition of fanzines, comics, counter-culture and the radical and rude criticism of the permanent order of things.

A magazine about queers and cinema, mostly.

2006-2009 A SMALL Anthology

The glare that a shadow can emit is evident in recent Latin American history, a history notoriously scored by oppression, violence, disappearances, and other painful secrets tossed into the gray areas of memory and to the margins of hegemonic historical accounts.

Mots Slow will appear every year, one day before the previous issue.

The Exhibitionist is a journal focusing solely on the practice of exhibition making. Its objectives are to create a wider platform for the discussion of curatorial concerns, encourage a diversification of curatorial models, and actively contribute to the formation of a theory of curating.

Reflection
Response
La Critique

New format of Magazine X, which is published twice a year is focused on one artist only.

The fifth issue of X is dedicated to abilities of drawing to visualize memories, record moments and ideas.

In the sixth issue X investigates movement in the context of creating and executing drawing.

Reflection
Response
La Critique

In the seventh issue X investigates movement in the context of creating and executing drawing.

This issue comprises various outlooks on “perspective.” This might be taken to mean something as specific as a particular opinion or as general as an axonometric projection; in short, different ways and means of looking at the world.

Magazin für narrative Zeichnung

"Alles ist Kunst – alles ist Politik", so Ai Weiwei (* 1957), der zu den international bekanntesten Künstlern der Gegenwart zählt.

Sonderpublikation anläßlich zum 25 Jährigen Jubiläum.

Virtual Inheritance ist die zweite Ausgabe der Publikationsreihe der Agency for Contemporary Artistic Discourse & Collaboration.

Angesichts der Zustände in Welt und Köpfen mag die Sorgenfresserpuppe auf dem Cover auch daran denken, was der Maler Max Liebermann beim Einmarsch der Nazis in Berlin gesagt haben soll: »Ick kann jar nich soville fressen, wie ick kotzen möchte.«

Die vierte Ausgabe des Magazins "zat", dem Heft für Interdisziplinäre Kunst.

Der Wert der Ephemera. Seit 20 Jahren gestaltet Johannes Wohnseifer die Plakate seiner Ausstellungen.

Katalogzeitung zur Ausstellung Zines #3 1980-1986 im Zentralinstitut für Kunstgeschichte in München, vom 06.02. - 31.03.2015. Alle Abbildungen in Farbe und Originalgröße.

Diese Publikation ist im Rahmen einer Ausstellung im Zentralinstitut für Kunstgeschichte in München erschienen.

Announcement of ‚a book on this continual phenomenon‘ with statements from the artist Bogomir Doringer, his co-curator Brigitte Felderer from the university of applied arts in Vienna and Matthias Tarasiewicz from the artistic technology lab (also university of applied arts).