Titre :	PARKETT N°80-2007 / THE PARKETT SERIES WITH CONTEMPORARY ARTISTS : JENNIFER ALLORA & GUILLERMO CALZADILLA / DOMINIQUE GONZALEZ-FOERSTER/ MARK GROTJAHN
Type de document :	texte imprimé
Auteurs :	Collectif, Auteur
Editeur :	PARKETT
Année de publication :	2007
Importance :	216 P
Présentation :	couv. coul., illus. coul. et noir&blanc
Format :	25,5 CM
ISBN/ISSN/EAN :	6059
Prix :	30 CM
Langues :	Allemand (ger) Langues originales : Anglais (eng)
Catégories :	3. Culture:3.45 Arts:Style artistique:Art contemporain
Index. décimale :	700 Les arts. Beaux arts et arts décoratifs
Note de contenu :	Introduction Our collaboration artists in this volume, Jennifer Allora & Guillermo Calzadilla, Dominique Gonzalez-Foerster and Mark Grotjahn, all share the same unbridled desire to break out of art and its genres and into other mental, social and political realities, while paradoxically reinforcing and, indeed, fueling our faith in art. Confrontation with their works makes manifest the extent to which they call for a special response, a nonspecific but profoundly receptive, open-ended subtlety that is, nonetheless, solidly anchored in the experience of this world. The editions they have created for Parkett could not be more redolent of this attitude. Allora & Calzadilla’s film, DEADLINE, zeroes in on a very small slice of reality. We see a palm frond dangling between two palm trees, a formal reduction that banks on the power of suggestion. Nothing eye-catching happens that might lend a different trajectory to the tension. Only the constantly changing shape of the frond spurs associations ranging from buoyancy and wanderlust to death and helplessness. We find ourselves engulfed in the entire emotional universe of the postcolonial mindset of the West that involves an “archetypal” guilty conscience and feelings of impending catastrophe. The sense of peace and affirmation that fills the frame is hard to take, the intensity of the message being heightened by the very fact that the palms do not stand in a museum like those of Marcel Broodthaers (Wilfried Dickhoff writes about his Magie. Art et Politique). No one can effect the leap into the future with such verve as Dominique Gonzalez-Foerster. She has created an exquisitely silkscreened calendar for Parkett, with images and dates that weave a flying carpet of such oneiric energy that we are catapulted into spaces of enchanting emptiness that are “not nothing,” but actually filled with “tempting forms of nothingness,” as conjured by our writers Pamela Echeverría and Daniel Birnbaum. Mark Grotjahn’s “abstract” painting also breaks loose: it is tranquility and takeoff, maelstrom and spell, ecstasy and composure. His surfaces contain unmistakable signs of several “double lives.” Take, for instance, the allusion to the artist’s poker-playing past in his edition for this issue. It symbolizes the dark side of culture. His card guards bring male fantasies into play but also those variations on poker that emphasize the fetish, the archaic gesture of singling out and taking possession of the cards by placing an object on them. The insert has been designed in the same spirit. Through a physical act of destruction—several pages have been torn out of each copy by hand, one by one—Ryan Gander has invested the publication with metaphysical added value: the entire run of Parkett 80 consists of 10,000 originals. The choice of color in these pages refers to Le Corbusier, not as veiled indication of connoisseurship but as a sign of Gander’s cease.

PARKETT N°80-2007 / THE PARKETT SERIES WITH CONTEMPORARY ARTISTS : JENNIFER ALLORA & GUILLERMO CALZADILLA / DOMINIQUE GONZALEZ-FOERSTER/ MARK GROTJAHN [texte imprimé] / Collectif, Auteur . - [S.l.] : PARKETT, 2007 . - 216 P : couv. coul., illus. coul. et noir&blanc ; 25,5 CM.
ISSN : 6059 : 30 CM
Langues : Allemand (ger) Langues originales : Anglais (eng)

Catégories :	3. Culture:3.45 Arts:Style artistique:Art contemporain
Index. décimale :	700 Les arts. Beaux arts et arts décoratifs
Note de contenu :	Introduction Our collaboration artists in this volume, Jennifer Allora & Guillermo Calzadilla, Dominique Gonzalez-Foerster and Mark Grotjahn, all share the same unbridled desire to break out of art and its genres and into other mental, social and political realities, while paradoxically reinforcing and, indeed, fueling our faith in art. Confrontation with their works makes manifest the extent to which they call for a special response, a nonspecific but profoundly receptive, open-ended subtlety that is, nonetheless, solidly anchored in the experience of this world. The editions they have created for Parkett could not be more redolent of this attitude. Allora & Calzadilla’s film, DEADLINE, zeroes in on a very small slice of reality. We see a palm frond dangling between two palm trees, a formal reduction that banks on the power of suggestion. Nothing eye-catching happens that might lend a different trajectory to the tension. Only the constantly changing shape of the frond spurs associations ranging from buoyancy and wanderlust to death and helplessness. We find ourselves engulfed in the entire emotional universe of the postcolonial mindset of the West that involves an “archetypal” guilty conscience and feelings of impending catastrophe. The sense of peace and affirmation that fills the frame is hard to take, the intensity of the message being heightened by the very fact that the palms do not stand in a museum like those of Marcel Broodthaers (Wilfried Dickhoff writes about his Magie. Art et Politique). No one can effect the leap into the future with such verve as Dominique Gonzalez-Foerster. She has created an exquisitely silkscreened calendar for Parkett, with images and dates that weave a flying carpet of such oneiric energy that we are catapulted into spaces of enchanting emptiness that are “not nothing,” but actually filled with “tempting forms of nothingness,” as conjured by our writers Pamela Echeverría and Daniel Birnbaum. Mark Grotjahn’s “abstract” painting also breaks loose: it is tranquility and takeoff, maelstrom and spell, ecstasy and composure. His surfaces contain unmistakable signs of several “double lives.” Take, for instance, the allusion to the artist’s poker-playing past in his edition for this issue. It symbolizes the dark side of culture. His card guards bring male fantasies into play but also those variations on poker that emphasize the fetish, the archaic gesture of singling out and taking possession of the cards by placing an object on them. The insert has been designed in the same spirit. Through a physical act of destruction—several pages have been torn out of each copy by hand, one by one—Ryan Gander has invested the publication with metaphysical added value: the entire run of Parkett 80 consists of 10,000 originals. The choice of color in these pages refers to Le Corbusier, not as veiled indication of connoisseurship but as a sign of Gander’s cease.