Die Ausstellung What is Modern Art (Group Show) versammelt eine Reihe künstlerischer Projekte, die zur Entstehung einer spezifischen auf Anonymität und Kopien beruhenden künstlerischen Praxis beigetragen haben.

Martin Beck’s exhibition “Program” at the Carpenter Center for the Visual Arts comprised a sequence of interventions, installations, events, and displays that drew on the exhibition histories and academic pursuits of the famed 1963 Le Corbusier building at Harvard University.

Diango Hernandez‘ „Museum of Capitalism“ ist ein Projekt für, mit und über das Internet. Gibt man www.museumofcapitalism.com ein, gelangt man auf eine Seite, die der Startseite der Suchmaschine Google nachempfunden ist, genau gesagt der US-amerikanischen Google-Seite. Dort hat

Cooking Sections (Daniel Fernández Pascual & Alon Schwabe) is a London-based duo of spatial practitioners. They explore the systems that organize the world through food. Using installation, performance, and mapping, their research-based practice operates within the overlap among visual arts, architecture, and geopolitics.

Der Begriff des Schönen ist ein fragiles Konstrukt.

Boîte is a biannual magazine packed in a cardboard box. It has a limited circulation of 250 numbered copies.

When I was traveling throughout Germany, I met a lot of German people whose ancestors had emigrated to the Baltic or Caucasus region. And so, I become interested in the roots of German culture and how it has spread to other countries. Tbilisi, the capital of Georgia, was the center that connected European, Russian, Middle Eastern and Asian cultures. In fact I have personally found a lot of traces and evidence of these cultures in Georgia.

Tokyo based illustrator Kei Sekikawa describes her work as "lots of pastel colour with hints of spice and sense of mystery".

Featured artists in this issue:
Meleko Mokgosi, Hernan Paganini, Andrew Miksys, Joseph Hart, Ryota Kyoshima, Erik Olson, Linn Pedersen

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: