Bøger udgivet af Parkett Verlag

Sigmar Polke (born 1941) recently completed a series of 12 windows for the Grossmünster cathedral in Zürich, setting new standards for the mutual relationship between art and church. One group of seven Romanesque windows shows luminous mosaics of thinly sliced agate, some of it artificially colored, to produce pulsating blocks of back-lit color. Says Marina Warner, "The interior of rocks opens not only on unexpected colors... on once imprisoned now scintillating rays and gleams, but it also tunnels into the past, into the distant past of geological and cosmological millennia." For the remaining five windows, Polke designed images of figures from the Old Testament, based on medieval illuminations, which have themselves undergone transformation in the course of their long journey through time. Polke's figures now appear as radiantly contemporary icons created in colored glass, using a variety of traditional and customized techniques devised especially for this project.

In 2009, the revered Swiss art publication and editions publisher, Parkett, celebrates its quarter-centenary with a comprehensive retrospective collecting all 200 of the artists editions it has produced since 1984. (They include Tomma Abts, Maurizio Cattelan, John Currin, Peter Fischli/David Weiss, Nan Goldin, Dan Graham, Wade Guyton, Zoe Leonard, Paul McCarthy, Marilyn Minter, Cady Noland, Raymond Pettibon, Richard Prince, Charles Ray, Gerhard Richter, Pipilotti Rist, Ed Ruscha, Dana Schutz, Hiroshi Sugimoto and Christopher Wool, to name just a few.) Originating at the celebrated SANAA-designed 21st Century Museum of Contemporary Art in Kanazawa, Japan, the exhibition builds on previous retrospectives held at Kunsthaus Zurich (2005), the Irish Museum of Modern Art (2002), The Museum of Modern Art, New York (2001), and Whitechapel Art Gallery, London (2001). "Commissioned by Parkett, the most important artists of our time have created editions that represent the essence of their art or reveal an unexpected dimension... the works cover every possible medium including painting, photographs, drawings, prints, sculptures, videos, DVDs, and sound pieces," wrote Whitechapel's Iwona Blazwick in 2001. Weighing in at more than 450 pages, this super-collectible catalogue raisonné, produced in conjunction with the 21st Century Museum of Contemporary Art, is the most comprehensive catalogue ever produced on Parkett's fabled editions. As such, it is a unique document of today's art.

A rare, behind-the-scenes look at one of the art world's most respected magazines, Parkett: 20 Years of Artists' Collaborations portrays and explores the 20 years of Parkett since 1984. Focused particularly on the making of the journals' signature artists' collaborations and editions, this book features unpublished artist interviews, statements and other background information. Included as well are artists' documents on the making of Parkett editions with some 30 full-page color drawings and comments by artists Doug Aitken, Laurie Anderson, Louise Bourgeois, Maurizio Cattelan, Gilbert & George, Roni Horn, Cindy Sherman, Gerhard Richter, Jeff Wall and others. Parkett co-founders Bice Curiger, Jacqueline Burckhardt and Dieter von Graffenried provide insightful interviews which are interspersed with pictures, historical material and reproductions of Parkett covers. Approximately 30 artists, curators and authors give statements, and 12 color double pages feature Parkett editions in private collections, a special large size fold-out poster, and a group picture of all editions. Also included is an index of the past 20 years that includes all 200 artists, 150 editions, 700 authors, 60 Parkett inserts and 15 spines.

For nearly two decades Parkett has been the leading international journal on contemporary art. Its in-depth presentations on artists have become the standard for criticism and analysis, and being selected to be in Parkett is considered an honor for contemporary artists worldwide. More than 100 artists have collaborated with Parkett on both the journal's content and the production of special art editions made available to the readers of Parkett. In this new catalogue raisonne, each of the 120 artists' editions are fully documented and reproduced in full color. Along with the editions, this volume also pays tribute to the many authors who have written texts for Parkett by providing a complete index of their contributions, and it reproduces each Parkett cover, now more than 60, in full color. Deborah Wye, a curator at the Museum of Modern Art, writes an essay looking at the various methods of collaboration between Parkett and the artists, including the editions, inserts, spines, covers, and design of the publication. Susan Tallman explores the diversity and richness of the artists' editions through the years. This book coincides with the exhibition Collaborations with Parkettt: 1984 to Now, at the Museum of Modern Art, New York, in the spring of 2001.

For 20 years, Parkett presented unparalleled explorations and discussions of important international contemporary artists by esteemed writers and critics. These investigations continue in issue No. 70, which features collaborations by Swiss-American visual artist and composer Christian Marclay, Polish painter Wilhelm Sasnal and British video artist and photographer Gillian Wearing. Each of these artists has carved out a unique manner of working with the mediums of sculpture, painting and photography, respectively. As well, each artist extends the use of film and video to reflect political, social or popular culture. Authors include Ingrid Schaffner, Philip Sherburne, and Philippe Vergne on Marclay; Meghan Dailey, Gregor Jansen and Adam Szymczyk on Sasnal; and Gordon Burn and Dan Cameron on Gillian Wearing, with a conversation between Cay Sophie Rabinowitz and Wearing. Also in this issue: Greg Hilty on Rebecca Warren, Dominic van den Boogerd on Aernout Mik, Catherine Wood on Mark Leckey, Carolee Thea on Joan Jonas, and an insert by Nic Hess. To celebrate Parkett's 20th Anniversary, this year's three issues (No. 70, 71, 72) will feature special contributions by both artists and writers on the current state of materiality in contemporary art. Scholarly writers look back to how earlier generations of artists employed materials and how this differs from so many contemporary artists' material engagements today. Collaborating artists of the past two decades contribute anecdotes, drawings and photographs commemorating their experiences with Parkett. Best of all is the inclusion of an additional fourth collaborating artist who will participate in a discussion about his or her relationship to materiality and will create a new Parkett edition: with Franz West in issue No. 70, Pipilotti Rist No. 71 and Alex Katz in issue No. 72. For Parkett No. 71, the featured collaborating artists will be Swiss installation and video artist Olaf Breuning; British conceptualist Keith Tyson; and American painter Richard Phillips.

In this issue of Parkett, Jan Verwoert describes Tomma Abt's abstractions as "defined by a kind of retroactive temporal logic: the movement that leads to the finished picture is a movement that keeps flowing back on itself in the process of overpainting." Julien Fronsacq calls Mai-Thu Perret's work "a product of a different persona" and suggests that it revolves "around the structure of the novel." According to Johanna Burton, Zoe Leonard uses the predominantly male photographic lineage to "speak in tongues," and to play with expectations--even as she expresses the metaphysical loneliness inherent to the medium: "There is no such thing as a truly entwined gaze," writes Burton, "only ever the promise of one and the deep breach that results from its impossibility." Also: Philipp Kaiser on Richard Hawkins, Josef Strau on Ei Arakawa, Charles Bernstein on art criticism, texts by Philip Ursprung and Jens Hoffmann, insert by John Stezaker and spine by Paulina Olowska.

In this issue of Parkett, Richard Flood writes, "Christopher Wool hasn't left much of the American angst and anger out of his art. The terse staccato of his language--rushing between noir wise guys, Burma Shave teasers, Punk rants, Lenny Bruce riffs and Zen smack downs--is a mad imploded sampler of rage, denial and brutal pragmatism." Scott Rothkopf takes on Wade Guyton's latest inkjet paintings in bull's-eye prose. And writing on Robert Frank, Eileen Myles claims: "Pull My Daisy refers to a g-string being dropped away, but the emotional underpinnings of this film make it more like a red flag being waved at a bull." Also, Paul Chan on Paul Sharits, Max Wechsler on Félix Vallotton, Thomas Eaton on Kenneth Anger, Burkhard Meltzer on Susan Philipsz and Victor Tupitsyn. Insert by Kerstin Brätsch, spine by Paulina Olowska.

For Parkett No. 69, the featured collaboration artists are Belgian conceptual artist Francis Alÿs, German sculptor and mixed-media artist Isa Genzken, and the Indian-born, London-based sculptor Anish Kapoor. Authors include Saul Anton, Robert Storr, and Kitty Scott on Als; Pamela Lee and Jörg Heiser on Genzken, and an interview with Genzken by Michael Krajewski; and Norman Bryson, Marina Warner and Kurt Forster on Kapoor. Other features include Philip Kaiser on Amelie von Wulffen, Stuart Comer on Swetlana Heger and a special Parkett Inquiry on consensus in contemporary art world titled "The Economy of Attention." The twentieth-anniversary issue, Parkett No. 70, will be published in summer 2004, with special collaborations and projects to be announced.

Parkett 82 features sculptor, diarist and preeminent Feminist Louise Bourgeois; the theatrical, shamanistic Polish artist Pawel Althamer and New York sculptor Rachel Harrison. Essayists on Bourgeois include Robert Storr, whose text is aptly called "Mother of Them All/Sister of Some," Tracey Emin and Griselda Pollock, while Althamer's collaborators are Massimiliano Gioni, Catherine Wood and Adam Szymczyk. Harrison's work is discussed by Ina Blom, Richard Hawkins, George Baker and Alison Gingeras. Also in the issue are texts by Burkhard Meltzer on Susan Philipsz, Jan Verwoert on WACK, Jeremy Sigler on Brock Enright, Kenneth Goldsmith on UbuWeb and Suzanne Hudson on the 60s hippie retreat Esalen. The Cumulus texts are by Mark von Schlegell and Catherine Chevalier. There is an insert by Sadie Benning and the spine is by Paulina Olowska.

Presenting unparalleled investigations and discussions of important international contemporary artists by esteemed writers and critics for 20 years, Parkett's investigations continue in issue No. 68, which features collaborations by German painter Franz Ackermann, Finnish artist and filmmaker Eija-Liisa Ahtila, and American Conceptual artist Dan Graham. Studies in the multiple perspectives of several simultaneous vantage points mark the pages of this volume. Authors include Joshua Decter, Douglas Fogle, and Raimar Stange on Ackermann; Gertrud Koch and Taru Elfving on Ahtila, with a conversation between Chrissie Iles and Ahtila; Marie-Paule MacDonald, Nicolas Guagnini & Karin Schneider, and Massimiliano di Bartolomeo on Graham, and an interview with Graham by Carmen Rosenberg-Miller. Also in this issue: Gregor Jansen on Dirk Skreber, Jens Hoffmann on Tino Sehgal, Bernard Frize interviewed by Hans Ulrich Obrist, and an insert by Jonathan Monk. For Parkett No. 69, the featured collaboration artists are Belgian Conceptual artist Francis Alÿs, German sculptor and mixed-media artist Isa Genzken, and the Indian-born, London-based sculptor Anish Kapoor. Authors include Saul Anton, Robert Storr, and Kitty Scott on Als; Pamela Lee and Jörg Heiser on Genzken, and an interview with Genzken by Michael Krajewski; and Norman Bryson, Marina Warner, and Kurt Forster on Kapoor. Other features include Philip Kaiser on Amelie von Wulffen, Stuart Comer on Swetlana Heger, and a special Parkett Inquiry on consensus in contemporary art world entitled, "The Economy of Attention." The twentieth-anniversary issue, Parkett No. 70, will be published in summer 2004, with special collaborations and projects to be announced.

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett No. 67 features John Bock (Germany), Peter Doig (Great Britain) and Fred Tomaselli (United States of America). John Bock's hypnotic and clownish lectures--his signature artistic medium--mix language, social theory, dramatic elements, history and fairy tales, among other things. He performs on stage-like structures made from household furniture and multi-level wooden platforms while constructing handmade sculptures out of clothing, household appliances and other common materials. Contributing writers on Bock are independent curator Jens Hoffmann, Daniel Birnbaum, director of Portikus in Frankfurt, and art critic Jan Avgikos. Peter Doig's paintings are at once romantic and nostalgic. With a vaguely impressionistic veil, he turns representational imagery taken from photographs into dream-like abstractions. For Doig authors include art historian Paul Bonaventura, former artistic director of the Stedelijk Museum in Amsterdam, Rudi Fuchs and Kunsthalle Zurich director Beatrix Ruf. Fred Tomaselli makes paintings that incorporate resin, photo-collage, pills, hallucinogenic plants and medicinal herbs in abstract compositions, figurative scenes and fictive landscapes. His multi-layered works (literally and metaphorically) map out the tension between control and chaos: civilization and nature, nature and culture. Dan Cameron, curator at the New Museum of Contemporary Art and curator of the next Istanbul Biennial, writes on Tomaselli, as well as writer Daniel Pinchbeck and Art Institute of Chicago curator James Rondeau. Also in this issue are Sibylle Omlin on Hanne Darboven, Troy Selvaratnam on Simon Starling, Hartmut Báhme on Wang Du, an insert by Canadian artist Marcel Dzama and a new spine designed by Fiona Banner.

Parkett 81 features Christian Jankowski, Cosima von Bonin and Ai Weiwei. Texts on German-born Jankowski are by Cay Sophie Rabinowitz, Jörg Heiser and Harald Falckenberg--who sees the artist as a sort of chameleon: a blend of "actor, performer, magician, seducer, thief, knave, and charlatan." Cologne-based cult figure Cosima von Bonin, "expresses control, domination, subordination, and freindship" in her large-scale stuffed animal sculptures and colorful wall-hung fabric collages, according to Bennett Simpson, who writes along with Dirk von Lowtzow and Diedrich Diederichsen. Ai Weiwei--celebrated internationally for his mutant table and bicycle sculptures and collaborative urban architectural projects--is discussed in this issue by Philip Tinari, Jaques Herzog and Charles Merewether. Other contributions by Thomas Eaton, Jan Verwoert, Christian Scheidemann, Jeremy Sigler, Tim Griffin, Jennifer Higgie, Heimo Zobernig, Nico Baumbach, Adam Sczymczyk and Ulla von Brandenburg.

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett No. 65 features collaborations with John Currin (United States), Laura Owens (United States) and Michael Raedecker (The Netherlands), three painters who apply their individual marks and styles to the traditions and techniques of painting. Currin's accomplished and alluring paintings of distorted and disfigured women and men, including portraits, genre scenes, and still-lifes, bring back the figurative in contemporary painting with an informed nod to art history. With her capacity for color and deft mark making, Owens takes the blank canvas and makes tantalizing paintings that lie somewhere between the abstract and the representational, all the while mastering the arrangement of space, form and color on a two-dimensional surface. Raedecker creates haunting paintings--landscapes, abstract and figurative, sometimes a bit of both--with the use of oils and thread and gothic colors imbued with a sense of the spiritual and the humorous. Parkett No. 66 features collaborations with Angela Bulloch (Canada), Daniel Buren (France) and Pierre Huyghe (France). Huyghe reassesses Conceptual art concerns by reinterpreting familiar films and themes in popular culture; he also draws on disregarded aspects of everyday life, such as time and alienation, and brings them back into our awareness. Bulloch's participatory sculptures explore the physical and psychological aspects of space by using simple light and sound effects that require the viewer's active participation. In the 1960s, Buren began producing works by using the striped cloth he calls "a seeing tool," seeking a new way to make art exist outside the museum and gallery spaces that delimited its socializing capacity. Since then he has continued his striped works and remains one of France's most important and cherished living artists.

Volume 80 of Parkett features Dominique Gonzalez-Foerster, Mark Grotjahn and the team of Allora & Calzadilla. Lyotard spoke of the philosopher who gives us something to look at. Dominique Gonzalez-Foerster's "chambers" do just that--providing a sort of real-life mise-en-scène expressed in open-ended rooms with sparse furniture arrangements. In Los Angeles painter Mark Grotjahn's suave strokes of frozen color, "bands and chevrons jostle for control of the surface plane like fractured tectonic plates poised to rupture..." according to essayist Gary Garrels. Grotjahn's surfaces boldly hold the wall with an intense physicality that harkens back to Abstract Expressionism, where the proportions of the canvas and the physicality of the paint itself fully engaged the viewer. Sculptor-interventionists Allora & Calzadilla create politically charged works for the gallery as well as the street. In one recent work, we encounter a life-sized concrete military bunker with a trombone slide poking through one of its embrasures. The hidden musical ensemble performs a host of classic war songs, marches and battle hymns as well as an odd rendition of Twisted Sister's "We're Not Gonna Take It." With texts and contributions by Hamza Walker, Patricia Falguières, Pamela Echeverria, Philippe Parreno, Daniel Birnbaum, Gary Garrels, Douglas Fogle, Hans Rudolf Reust, Yates McKee and Jaleh Mansoor, Christian Rattemeyer, Lyle Rexer and Adrian Notz and an insert by Ryan Gander.

Volume 79 of the influential international art journal Parkett features Jon Kessler, Marilyn Minter and Albert Oehlen. In the tinkered gadgetry of Kessler's retro sci-fi installations, we peek through surveillance cameras to see our own image among his analog programs crammed with detritus of all kinds. Kessler's vista of (d)evolved cyberstuff is in a manic state of accumulation, as this data-diving artist masters the ecology of pure information. Within Marilyn Minter's fetishistic, flawless pictures, we find a painter obsessed with the clear articulation of magnified sweat beads and pore-smeared glitter. In each successive lip-smacking painting, Minter sets out to perfect beauty's disguise, affirming both her pleasure in fashion imagery, and an appreciation of its vulgar mishaps--say, a drag queen's eyelashes clumped together with too much mascara. According to essayist John Kelsey, Albert Oehlen's collage-paintings "seem almost bored of their own shock-value." And yet this artist, one of the most significant German painters of the past 20 years, can make boredom look like a rigorous, if not delirious experiment. Also featured: Spencer Finch, Gelitin and Mark Wallinger, as well as essayists Paul Bonaventura, Mark Godfrey, Glenn O'Brien, Katy Siegel, Andrea Scott and Pamela Lee, to name a few.

Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on contemporary art for nearly two decades. Issue No. 63 features collaborations with Tracey Emin, William Kentridge, and Gregor Schneider, three artists whose highly personal works affect viewers in an evocative manner, yet through strikingly different means. Emin bares her soul from the inside out, in her confessional multimedia photographs, drawings, videos, and installations. Kentridge's highly-charged films, drawings, sculptures, and theatrical productions analyze the history of his native South Africa and the implications and legacy of apartheid. And finally, Schneider's inside-out abodes turn the seemingly cozy and reassuring context of "home" into a haunting maze of opened and closed rooms, claustrophobic corridors and tunnels, and impenetrable windows and doors. Each of these artists draws us into their private worlds, diminishing the boundaries between artist and audience.