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.

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:

A magazine about queers and cinema, mostly.

The more stuff we accumulate, the more space we need to store it all. Vast portions of the landscape are claimed and governed by spaces of storage, their maintenance, and the goods that move through them—or remain buried within them indefinitely.

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.

2006-2009 A SMALL Anthology

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

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.

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.

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.

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.

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

Sonderpublikation anläßlich zum 25 Jährigen Jubiläum.

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.

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

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.

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).

Dritte Ausgabe der Zeitschrift der Akademie der bildenden Künste Wien.

Fünfte Ausgabe der Zeitschrift der Akademie der bildenden Künste Wien.

Das “Hamsterrad”- Projekt wurde von Urs Fischer und Franz West in Wien ins Leben gerufen und anlässlich der 52. Biennale von Venedig im Juni 2007 veröffentlicht.

Summer 2001. Ninth edition and close of the second cycle of its existence. b-guided approximates with each edition the original goal. b-guided continues to champion eclecticism, creativity, quality and the beauty of integrity. b-guided suggests choices on national, international and virtual level.

The fifth release of Occulto Magazine, Issue δ (4,66920160910299067185320382…) is dedicated to a very special topic: dreams.

Kunst am Bau ist seit 1980 ein wesentlicher Bestandteil von künstlerischer Auseinandersetzung in Verbindung mit Bauvorhaben des Landes Salzburg.

fotoK wurde 2004 von Pascal Petignat und Martin Scholz-Jakszus mit der Absicht gegründet, eine Institution zu betreiben, die sich konsequent und nachhaltig mit der Produktion von Fotografie im Kontext von zeitgenössischer Kunst auseinander setzt und diese fördert.

The Chap takes a wry look at the modern world through the steamed-up monocle of a more refined age, occasionally getting its sock suspenders into a twist at the unspeakable vulgarity of the twenty-first century.

The Year we have been nowhere will have two parts. This is the first one.

Meet the Popular Republic of Photosynthesis; learn how thin and blurry the boundary between living and inanimate can be; read challenging reflections about our interpretation of the theory of evolution; discover how cleverly Queen Dido took advantage of the isoperimetric problem; watch gossip stars morphed into Poltergeist; download the second great selection of music compiled by Onga Boring Machines.

The time was not ripe to settle down and get a range life, so here’s the new Occulto issue. It’s dedicated to Constants & Variables, and to our friend 3.14.

Schweigen als Widerstand; Masken als Widerstand. Beides auf vielleicht paradoxe Weise Mittel des Handelns und des Sprechens, Formen ästhetischer und politischer Partizipation.

J’aime beaucoup ce que vous faites... » magazine was created in 2005 with a desire to focus on literature with a sensitive and affective point of view. The magazine, presented as a mix between a book and a manuscript, demonstrate writing in progress, the hidden side of the process while the author is at work. It also enlights the intimate moments shared with the voice of a writer as well as the excitement of the discovery of singular writing.

American Magazine founded by Andy Warhol and British journalist John Wilcock in 1969.

ALUAN is an exhibition space in the shape of a magazine. Each issue of this exhibition on paper is produced by a guest curator who explores a different art scene, defines a topic, and selects artists and artworks for display. It is a sequence of images, accompanied by a text that can be read as a guided tour.

Mit „Der Blick des Anderen- drinnen-draussen-Heymat“ erzählt der junge salon in semi-dokumentarischen und in fiktiven Geschichten von Menschen aus dem 15. Bezirk. Von Menschen, die seine Nachbarn und Nachbarinnen sind.

Like all animals, humans are programmed for survival. Fight or flight? Duck! Run for cover! Our reflex, when we register fear, is to protect ourselves.

The Bells is the first publication in the SFU Galleries Critical Reader Series. A discursive forum, the series encourages critical writing and projects that run parallel to programming at SFU Galleries.

Starship 14 is 144 pages of original artists' contributions, texts, columns, and reviews, including an insert conceived by Nikola Dietrich which is called "Plastic Island", revolving around dystopic and realistic conceptions of the future.

Das vierteljährlich erscheinende Kunst Review Magazin 'vonhundert' versammelt Beiträge von verschiedenen Künstlern und Autoren.