Komfort Mag #7: To Play With

Let’s play truth or dare. To start off, rather than having
to get naked or kiss the ugliest guy at the table, we’ll tell you
that the new Komfort issue will be big. Really big and thick.
Get ready for 250 pages in two separate volumes. A beautiful,
unspoilt pictorial leaf-through, with a booklet of condensed
reading inside. Pictures, photos and words will resound in their
undetracted wholeness. Your turn now.

Barbora Pivoňková I. – Altars of living rooms
Barbora Pivoňková II. – Locus Delicti
Barbora Pivoňková III. – Les Étrangers
Tereza Zelenková Some kind of night into your darkness
Petr Pawlowski – Country cousins
Václav Kopecký – Moment
Petr Bosák & Robert Jansa – On the piano
Radek Sidun – 9×13 cm
Teodorik Menšl – Sound
Adéla Marie Jirků – Just playing
Iveta Merglová – Getting closer
Nika Kupyrová – Mouse milk
Vendula Knopová – Natürlich
Strcprst skrzkrk – Taiwanese hit
Michal Drozen – Block of flats
Linda Friedmannová – To hell and back again

D 11.50€

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Philippe Decrauzat. Trois Films Photographiés.

Trois films photographiés – A Change of Speed, a Change of Style, a Change of Scene – After Birds – Screen O Scope, Philippe DECRAUZAT.
Published by Centre d’édition contemporaine, Geneva.

This artist’s book is an edition of 400. Each copy is composed of 18 quires, bound together following a random repartition system. Each book is unique and numbered with an adjustable rubber stamp.

D € 57

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Spike #30.

CONTENTS 30

ARTIST’S FAVOURITES
By Saâdane Afif: Katarina Burin, Natalie Czech, Jofroi Amaral, Nathan Peter, Lina Viste Grønli, Adrien Missika

ESSAY

Changes in the Economy of the kunstbetrieb, Part 3: The Freedom of the Curator
By Daniel Baumann

ARTISTS TALK

Markus Schinwald talks to David Cronenberg
 about cinematic sublimation and blank beginnings

CURATOR’S KEY

Fabrice Stroun, forthcoming director of the Kunsthalle Bern on O-ism by Jim Shaw

GALLERIES
Jennifer Teets on the new programmgalerie Marcelle Alix, Paris

INSTITUTION
David Roberts Art Foundation in London is
a new and innovative exhibition space by a private collector. By Adam Carr

COLLECTIONS

A secret history of art: Steven Leiber’s collection
of art ephemera in San Francisco. By Matthew Post

PORTRAIT TOM BURR

Camp, appropriation and politics meet in the work of
this American artist. An Interview by Gianni Jetzer

PORTRAIT MOYRA DAVEY
Fionn Meade finds an obsession with collecting, systematic listing and nostalgic resistance in the photographs of this Canadian artist

PORTRAIT PETER FRIEDL
This Austrian artist never fails to surprise with unexpected strategies that defy all trends. By Raimar Stange

ART & POLITICS

Adam E. Mendelsohn takes a look at Occupy Wall
Street and asks some players in the art world what 
they make of it

ARTIST’S READINGS

Annika von Hausswolff talks to Mika Hannula about Maurice Blanchot’s The Madness of the Day

ARCHITECTURE

Charles Moore’s Piazza d’Italia in New Orleans reveals the topicality of postmodernism. By Michele D’Aurizio

SEDUCTION
or the things we like

REVIEWS

Reviews of international exhibitions

THE PFAFF BROTHERS

A Child is Born on the Internet

D 9.50€

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Andrew Kerr. Inverleith House, Royal Botanic Garden Edinburgh.

In 1999, Inverleith House presented an exhibition open to all artists living and working in Scotland, called ‘Absolut Open’. The 29 artists chosen to exhibit were selected from submissions by over 350 artists, spanning several generations and encompassing every artistic medium and style. A few of the artists represented were already well-known at the time, but most were not. One of the strangest and most scuccessfuil works in the exhibition was a cardbopard sculpture made by Andrew Kerr, a young artist who had only just graduated from Glasgow School of Art. It took the form of a ‘cast.’ taken from another sculpture – the Garden’s ‘Slate Cone’ (Andy Goldsworthy, 1990; resting on the gallery floor like an upturned carapace it was positioned so that both could be viewed simultaneously by looking out of a window towards the hawthorn tree near which Goldsworthy’s sculpture was sited.

whilst Kerr’s sculpture appeared temporary, inmprovised and possibly even slightly irreverent, both forms demonstated an affinity with nature and culture respectively. Born in 1977, Kerr is one of the younger members of an internationally recognised generation of artists who have made exhibitions for Inverleith House in recent years, including Karla Black, Douglas Gordon, Jim Lambie, Victoria Morton, Tony Swain, Hayley and Sue tompkins and Cathy Wilkes.

The exhibition will feature new and recent work and is Kerr’s first major museum exhibition in Scotland, following a major solo exhjibition in 2009 at the Kunstverein in Bremerhaven, Germany and other recent solo exhibitions in Cologne and Glasgow.

Catalogue

D € 20

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“Alina Szapocznikow. Awkward Objects” is a collection of materials from the international conference “Alina Szapocznikow. Works. Documents. Interpretations.” organised at the Museum of Modern Art in Warsaw by the Museum team and Agata Jakubowska, PhD(May 15-16, 2009). By gathering world-renowned art historians, curators, critics and collectors, both the conference and the publication seek to fully represent and animate the new trends in research concerning works by Alina Szapocznikow.

Termed “post-surrealist” or “proto-feminist”, compared to Eva Hesse and Louise Bourgeois, Szapocznikow and her work today constitute one of the most interesting challenges for researchers dealing with 20th century art. “Alina Szapocznikow. Awkward Objects” is, by contributions by renowned art historians, critics and artists, a combination of multi-faceted insights into the artist’s diverse oeuvre that aim to place her in the context of the international world of art.

Authors: Griselda Pollock, Sarah Wilson, Agata Jakubowska, Ernst van Alphen, Tomáš Pospiszyl, Marta Dziewanska, Anke Kempkes, Paweł Leszkowicz, Jola Gola, Anda Rottenberg.

“Alina Szapocznikow : Awkward Objects”
Edited by Agata Jakubowska
Museum of Modern Art, 2011

Carina Brandes. BQ

“As one views Carina Brandes’ b/w photographs, the gaze seems to penetrate a mysterious realm of innocence and magical presence removed from everyday reality. A half-naked girl in a long white skirt squats on the shore of a lonely, shrub-surrounded, and (blurred reflected light suggests) moonlit woodland lake; opposite her in the water, a similarly dressed figure immerses a largely unidentifiable picture in the lake. Does this represent the symbolic development of a photograph, perhaps?” -Anna Grande

32 Pages / 27 photos
German / English Essay by Anna Grande
Published by BQ, Berlin 2011

D 12€

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Edit #57

Komplizierter Spaß seit 1993, hellwach, seltsam, einzigartig: Edit ist eine der einflussreichsten Literaturzeitschriften im deutschsprachigen Raum. Dreimal im Jahr lässt sich hier Neues entdecken und Altes neu entdecken. Namen oder Kategorien sind dabei weniger wichtig als der individuelle Umgang mit den bewährten Möglichkeiten oder den Grenzen von Literatur – sollte es die geben.

Olga Grjasnowa – Der Russe ist einer, der Birken liebt
Konstantin Ames – sTiL.e(ins) Art und Weltwaisen
Miron Białoszewski – Gedichte
Nyk de Vries – Prosaminiaturen LESEN
Felicia Zeller – Helme aus Holz LESEN
Georg Leß – Gedichte
Matthias Senkel – Fidye
Vier Gedichte
Elfriede Czurda, Michael Lentz, Ferdinand Schmatz und
Christian Steinbacher mit Anagrammen zu einem Gedicht
von Carlfriedrich Claus
Bildteil
Fabian Bechtle – The Maximum Force of the Future
Exkurs: Amerikanische Essays
John D’Agata – Was dort geschieht
Nikil Saval – Wall of Sound
Rivka Galchen – Fallbeispiele einer Medizinstudentin aus der psychiatrischen Notaufnahme in East Harlem, Winter 2002
Yara Flores – Spiritus Duplex
Joan Didion – Blaue Stunden
Wayne Koestenbaum – Heideggers Geliebte
David Shields – Mögliche Postkarten von Rachel aus Übersee
David Foster Wallace – Weg von dem Gefühl, von allem bereits ziemlich weit weg zu sein

Geschäftsführung: Mathias Zeiske
Redaktion: Jörn Dege, Kerstin Preiwuß und Mathias Zeiske

D 5€

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Even Running. Judith Raum.

The publication both documents Judith Raum’s solo-shows at uqbar, Berlin and The Return, Dublin and translates the lecture performance harmless entrepreneurs (2011), which was shown at both locations, into a book format. The works presented in the exhibitions deal with modes of production and material culture within German economic imperialism in the Ottoman Empire during the early 20th century. They reveal moments of improvisation and makeshift solutions within the construction of the Baghdad Railway, a continental route of transport, which was supposed to make the resources and markets of Anatolia accessible for a variety of German businesses. The publication contains the complete lecture performance script, historical correspondences from archives in Germany and Turkey documenting the attempt of a technical and entrepreneurial instrumentalization of material and landscape carried out under the leadership of Deutsche Bank, photographic archival material as well as essays by Suhail Malik on Raum’s work revealing the interdependence between early forms of globalized trade and modern international-financial-statehood, and a reflection by Jonathan Carroll on the precariousness of form in Raum’s installations.

Even running refers to a statement by the owner of a German cotton production company founded in South-Eastern Anatolia by Deutsche Bank. In one of his monthly reports, he expresses dissatisfaction with local production methods, but reassures the board of directors that the new machines acquired will guarantee a more consistent cotton quality called even running.

Published by Verlag der Universität der Künste Berlin
November 2011
German/English
Design: HIT

D 16€

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Mousse #31.

Starring by Antonio Scoccimarro
JONATHAS DE ANDRADE: The Advantage of Being Numb by Stuart Comer
CHANTAL AKERMAN: No Idolatry and Loosing Everything that Made You a Slave by Elisabeth Lebovici
AKRAM ZAATARI: The Political Is Personal by Alessandro Rabottini
TALKING ABOUT: To Show or Not To Show by Jens Hoffmann and Maria Lind
SADIE BENNING: Transitory States by Tina Kukielski
REPRINT: So Be It by Nicolás Guagnini
SEAN LANDERS: No Intention To Fail by Beatrix Ruf
TALKING ABOUT: Progress Is Everyone’s Business by Chelsea Haines
NICE TO MEET YOU – TRISHA BAGA: Hands-on by Esperanza Rosales
NICE TO MEET YOU – ERICK BELTRÁN: Some Fundamental Postulates by Max Andrews
NICE TO MEET YOU – EDUARDO BASUALDO: Logic of the Body by Cecilia Alemani
Agenda
Books by Stefano Cernuschi
TEN FUNDAMENTAL QUESTIONS OF CURATING: Chapter 7:What About Collecting? by Jens Hoffmann, Sofía Hernández, Chong Cuy, visuals by Mario Garcia Torres
NEW YORK – LUCY RAVEN: Anamorphic Materialism by Fionn Meade
LOS ANGELES – LIZ GLYNN: The Rise and Fall of Liz Glynn by Andrew Berardini
LONDON – IAN LAW: One Place After Another by Pavel Pys´
BERLIN – DANI GAL: History Channel by Ana Teixeira Pinto
PARIS – NEÏL BELOUFA: All Is Magic by Jarrett Gregory
Diary by Antonio Scoccimarro
LOST & FOUND: Scrutinize, Interrogate, Scrape. Gianikian and Ricci Lucchi Explore Without Surrendering to History by Andrea Lissoni
TALKING ABOUT: The Cinema as a Wayward Form… by Christopher Eamon
IAN WILSON: There was a discussion…by Hans Ulrich Obrist
WHAT’S ALTERNATIVE? ALTERNATIVE TO WHAT?: Anthony Huberman and Yasmil Raymond by Vincenzo de Bellis
HANK WILLIS THOMAS: I Am. Amen by Luigi Fassi
TALKING ABOUT: The Publishing & Exhibiting Questionnaire by Francesco Garutti and Francesco Valtolina
EDWARD KIENHOLZ: A marvellously vulgar artist! by Anja Nathan-Dorn

Editor In Chief: Edoardo Bonaspetti
Art Director: Francesco Valtolina

D: 8€

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Gastronomica #11:4

The journal of food and culture

D € 16

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