Texte zur Kunst no. 108: The Idiom and Contemporaneity of Günther Förg

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Texte zur Kunst no. 108 (December 2017), which has been guest-edited by Susanne Leeb and Miriam Thomas, is out and looks very promising. It is decidated to the idiom(s) of art:

In art historical and art critical texts, the concept of “idiom” – an expression or mode of speaking that cannot be translated – is frequently used, even if it is rarely spoken of as such. TZK issue 108 explores how the idea of “idiom” might allow us to coherently engage with art’s disparate materialist and iconographic connections at a time when the vitality of historical Western-centric cannons are fading (see: Documenta 14) and the traditional relations within and among artistic systems are ever less self-evident. The “Idiom” issue of TZK asks: What languages does art speak?

My essay “Modernist Memories: On the Contemporaneity of Günther Förg” discusses the ambiguous and often contradictory reception of Förg’s reuse of forms associated with modernist idioms, in his paintings, photographs and wall paintings and installations of the 1980s and 1990s. Analysing curatorial and critical responses to his work in the Netherlands during this period, the text also discusses the current state of an institution strongly associated with Förg’s career, the Stedelijk Museum in Amsterdam, to ask the question what kind of contemporaneity Förg’s work stood and stands for, and what “contemporary art” has become in the course of the past couple of decades.

Image: photo from Förg’s 1988 Barcelona Pavillion series. Unfortunately, in the print issue a different image has recieved the wrong caption: the 1981 “Wandmalerei mit 2 Fotografien“ is incorrectly ascribed to Galerie Barbara Grässlin in Frankfurt, whereas the correct location is Galerie Rudiger Schöttle, Munich. This will be corrected in the online version.