Zum 30-jährigen Jubiläum des Manor Kunstpreises, einem der wichtigsten Förderpreise des zeitgenössischen Kunstschaffens in unserem Land, präsentierte das Aargauer Kunsthaus, Aarau im Herbst 2012 mit «La Jeunesse est un Art» eine grosse Überblicksausstellung zum jungen, aktuellen Kunstschaffen in der Schweiz.

This autumn Tate St Ives stages a group exhibition called The Indiscipline of Painting: International abstraction from the 1960s to now. It includes work by Mary Heilmann, who calls it a ‘huge conversation’ with some of her favourite artists. ‘This is the way I love to engage with art,’ she says.

What is the role of the artist? And how does one challenge existing perceptions of what an artist is? Simple questions perhaps, but ones that Italian artist Alighiero Boetti (1940–1994) took seriously, as will be explored in Tate Modern’s forthcoming retrospective.

A Collaboration with Sigmar Polke.

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

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

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

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.

The “demand for anthropological re-formulation”—de¬scribed by Michelle Nicol in her essay on Carsten Höller as an important feature of the nineties—also surfaces in Robert Smithson’s slide presentation on HOTEL PALENQUE, given over twenty years ago.

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.

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.”

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.

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:

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.

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

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.

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

When, at the end of the sixties, Chuck Close painted a reclining nude over 20 feet long in minutely detailed verisimilitude as well as faces of unprecedented size and exactitude, he challenged the visual practice of the art-viewing public.

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.

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.

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.

Art Magazine/Kunstmagazin

Mondrian sighted in front of Matisse at MOMA As if it had suddenly stepped off the wall of the museum, a Mondrian—i

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

While Olaf Breuning and Richard Phillips acquire new insights by devoting themselves to the world of forms and aesthetic appearances as

The art in this issue of Parkett is far-reaching. It reaches out physically and mentally; it occupies new territories and makes startlingly self-

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

Der Ausstellungskatalog entstand im Zuge der gleichnamigen Wanderausstellung "Druckgraphik 1970 - 85", die von 27. Juni bis 14. Juli 1986 in den Räumlichkeiten des Grazer Künstlerhaus stattfand.

On immersing oneself in the working practice of the collaboration artists in this issue, one soon surrenders to the feeling of observing strange, eccentric scientists.

In Collaboration mit Imi Knoebel und Sherrie Levine. In der gesamten Auflage finden sich eigens für Parkett gestaltete Originalbeiträge.